Antz (1998)

2017 #119
Eric Darnell & Tim Johnson | 83 mins | streaming (HD) | 16:9 | USA / English | PG / PG

Antz

I don’t know if there was something in the Californian water in 1998, but in the same year that major Hollywood studios faced off with similarly-themed disaster movies Deep Impact and Armageddon, fledgling CG-animation outfits did the same with ant-themed kids’ movies. One was Pixar’s A Bug’s Life, which has endured thanks to the ever-increasing cachet of the studio’s brand (it was only their second feature). The other, of course, was Antz, which has the starry-named voice cast but was only by DreamWorks, whose later success with the likes of Shrek has done little to elevate the standing of their entire oeuvre. Anyway, it’s a bit pointless me making these comparisons because I’ve still not seen A Bug’s Life. Maybe in that review, someday.

As for Antz in isolation, it’s a funny old film. It feels more aimed at adults than kids: star Woody Allen is doing a version of his usual schtick, and the plot riffs heavily on political systems like Communism, a combination which means most of the jokes will soar over children’s heads. That’s before we get on to the brutal war sequence against monstrous termites. Plus, the entire voice cast seem to have wandered in from a completely different kind of movie: as well as Allen there’s Gene Hackman, Christopher Walken, Anne Bancroft, Sylvester Stallone, and Sharon Stone. I don’t know how well it plays for kids, but, as an adult, all of this stuff gives it a welcomely different flavour.

A bug's famous voice

Visually, it also lacks the slick (if somewhat plasticky) sheen of early Pixar. I can’t quite decide if the animation has aged badly (it is 20-years-old CGI, after all) or has a certain timelessness. Some of the computer animated stuff is blocky and jerky, but it’s frequently paired up with painted backgrounds for scenery and the like, which gives a kind of pleasant mixed-media feel to some sections. The effect is emphasised by the quality of the transfer that’s around: although in HD, it’s clearly been transferred from an actual film print, not clean digital files. And not a great print at that: there’s spots of dirt and everything. I guess that shows the lowly standing even DreamWorks holds the film in, but there’s a certain kind of old-school charm to it. Which is probably just misplaced nostalgia on my part for old lo-fi media, but hey-ho.

Antz is an odd little film. It doesn’t contain the easy charms of a Pixar movie, and I can imagine kids would get very little out of it; but for adult animation fans, it’s kind of interesting.

3 out of 5

Antz is on Channel 4 today at 2:30pm.

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Kingsman: The Golden Circle (2017)

2017 #125
Matthew Vaughn | 141 mins | cinema | 2.39:1 | UK & USA / English | 15 / R

Kingsman: The Golden Circle

Critics, eh? There’s a lot you could say about them, both individually and en masse, but right now I’m concerned with the fact they’ve given Kingsman: The Golden Circle a Rotten Tomatoes score of just 50%.* More than that, many have gone further: I’ve read one-star reviews from several major outlets. Audiences disagree. On IMDb it’s got a very respectable 7.4 (just a few points down from the much better-received Wonder Woman, for comparison) and it topped the box office this past weekend, beating the latest LEGO movie in the US and almost doubling the first film’s opening weekend in the UK. Well, I’m definitely an audience member rather than a critic. In fact, I’m still weighing up the possibility that The Golden Circle might be even better than its predecessor.

I’ll return to both the critics and the two films’ relative merits later. For now, the obligatory plot summary: a year on from the events of the first movie, Eggsy (Taron Egerton) is a fully-fledged Kingsman agent and is dating Swedish princess Tilde (Hanna Alström). An encounter with former wannabe-Kingsman Charlie (Edward Holcroft) sets Eggsy on the trail of Poppy (Julianne Moore), a drugs kingpin with a ’50s Americana fetish and a plan for global domination. Eggsy and tech whizz Merlin (Mark Strong) travel to the US of A to team up with their sister organisation, Statesman, in a bid to stop Poppy’s nefarious scheme.

Magic us out of this one, Merlin

That’s the coy version of things — more coy than the trailers, certainly, which brazenly gave away major developments and revelations. (You’ll note my summary’s shortage of big-name stars, for example, who have been plastered all over the advertising.) Director Matthew Vaughn even asked the studio not to reveal one thing in the marketing — namely, that Colin Firth was back — but they went ahead and did it anyway. I know they had a movie to sell, but I’m not convinced they needed to ignore him on that. Actually, that connects to my first complaint about how critics have treated the film: those one-star major reviewers seemed to hate the film so much that they were happy to spoil bits left, right, and centre. No such disregard for the audience here (though there will be minor spoilers, if you’ve not seen it yet). Nonetheless, if you were one of those people who seemed to find the first film’s anal sex joke to be the most heinously offensive sin committed by cinema since The Birth of a Nation, maybe read a couple of those reviews for a benchmark if you’re undecided about seeing this sequel — it may also offend your delicate sensibilities for reasons I can only vaguely comprehend.

To me, The Golden Circle represents a commitment to being purely entertaining. It’s consistently funny and at times laugh-out-loud hilarious. The action sequences are crazily hyperkinetic to the nth degree. It mixes in all the classic spy movie shenanigans, like far-fetched plots and cool gadgets and exotic locales; but it also works to subvert, expose, or develop some of those things. Beyond that, however, it has surprisingly good character work for what could’ve been a mindless comedy shoot-em-up. I mean, Merlin’s arc… well, i said no spoilers. But the film also makes time to be concerned about Eggsy’s relationship and how his work might affect it. It’s almost a good subversion of the gentlemen-spy sleep-around stereotype, though the Glastonbury sequence rushes through that rather than meaningfully deconstructing it (more about that already-infamous scene later).

The Lepidopterist

Then there’s Harry’s return — not just a pleasant surprise, but an emotional minefield for our other heroes, who were still coming to terms with his demise. Now, some critics reckon that Harry’s revival lowers the stakes for the rest of the movie. Well, only if you choose to disregard the details of his return. OK, yes, there’s now a safety net in some scenarios; but a gel that slows the effect of a headshot isn’t much use if, say, you get blown to pieces. Also, the idea that Harry was “very much dead” is actually an assumption that’s not wholly supported by the first film. I mean, obviously it was implied that Harry is very much dead — that was the point at the time — but watch it again: you don’t actually see much detail of what happens, other than that Valentine shoots him somewhere in the head and he collapses to the ground. The scene ends almost immediately. Vaughn and co use this to their advantage, having the Statesman turn up with seconds of the shot being fired. Yeah, it’s still implausible, but then I don’t think people’s heads explode in choreographed light shows either, and that was a big part of The Secret Service.

Comparisons to that previous movie abound in other reviews, I guess because it went down well while this one, which is ostensibly more of the same, hasn’t. Also, to be fair, because the film itself is constantly making such references too. Consequently, some critics are focused on the idea that what The Golden Circle lacks is the freshness of the original. Well, personally, I enjoyed the first one more when I re-watched it a couple of days ago than when I first saw it back in 2015, so the “I’ve not seen that before” factor is not its defining quality for me. Nonetheless, this is the kind of sequel that’s somewhat derivative of its own predecessor, with many riffs on stuff you’ll remember from before. The most regularly repurposed is the famous church fight, though I’d argue that it’s taken the style of that sequence and then applied it to several more in this film, rather than merely producing an outright copy of what came before — something I would (and did) accuse, say, X-Men: Apocalypse’s Quicksilver sequence of doing (even though it tried to find fresh angles on the same basic concept).

Skipping rope in the snow

One particular way that half the action sequences feel like they’re deliberately riffing off / ripping off that church fight is that they’re set to pop songs, and often unexpected ones. It may be repeating a trick, but this use of music is consistently entertaining — I mean, hasn’t Saturday Night’s Alright for Fighting always wanted a fight set to it? And the country-fied cover of Word Up for the finale is bang on. That’s not to mention the score by Henry Jackman and Matthew Margeson. I always liked the main theme from the first film, which is carried over here, along with effective action cues (for those times it goes without a pop song) and a neat integration of melodies from John Denver’s Take Me Home, Country Roads. That song is used to very particular effect at one point, and, listening to the soundtrack while writing this review, the bit of Mark Strong singing it that’s included did actually leave me with a little something in my eye — again, not what you expect from a film like Kingsman. Though I must clarify, that is due to the memory of the film, not the quality of Mr Strong’s singing, which is certainly… Scottish-accented. Something I didn’t notice particularly when watching the movie (and why would you on a first viewing?) is that those melodies are there right at the start, played on bagpipes and segueing into the opening theme. Cheeky foreshadowing beggars.

While there may be some dimension of merit to some of the criticisms I’ve referenced so far, others merit mention only to be ridiculed. I mean, one critic slagged off the fact that most (but not all) of Poppy’s scenes take place in one location, which must be the most ludicrous factor contributing to a film getting one star that I’ve ever read. Relatedly, that the big-name new cast members are given less focus than the returning characters seems to be a recurring sticking point. Well, what do you expect? In fact, what do you want? It’s like thinking the solution to Quantum of Solace’s woes was to spend less time with James Bond and more with Agent Fields. Plus, surely the fact that some prominently-billed new names turn out to be glorified cameos is more to do with the marketing overhyping them — as you do when you’ve got genuine movie stars in your movie — than the film itself fundamentally underserving them. Sure, I’d like more of Channing Tatum’s character too, but hey-ho; and it’s not like his limited screen time isn’t put to memorable effect, several times over. The same can be said for Julianne Moore and, arguably best of all, Elton John. They may reuse the same Elton gag a couple of times too often, but on the whole he has a surprisingly effective part to play. On the other hand, after “more Halle Berry” was something that eventually undermined the X-Men films, I’m fine with her role being kept to a minimum. Still, for everyone who wished for more of Tatum and co, there are already rumours of an extended cut coming to DVD and/or Blu-ray. Oh, but those critics moaned about it already being too long. There’s no pleasing some people…

More Tatum, less Berry

There is perhaps a case to be made that the film has bitten off more plot than it can comfortably chew. I’ve already said that some sequences feel a little too hasty, and there might be one big set piece too many — I assumed the film was about to head into its final act, before remembering we hadn’t had all the snowbound set pieces from the trailers yet. Personally, I didn’t mind this additional length — at no point did the film bore me. I’ll be more than happy if that extended cut does materialise. Perhaps the paciness despite the length is what led many critics to call it out for having too complex a plot, an accusation I find somewhat implausible. I can only assume they weren’t expecting to think at all and so almost literally turned their brains off, because this isn’t some intricate thriller, it’s a big action spy movie that moves pretty linearly from plot point to plot point. That’s not a criticism, just an observation.

And if you want to go the other way and overthink the film, some people do get very het up about what the political messages and affiliations of these two movies may or may not be. Now, I’m not going to argue they don’t have a political dimension — that would be a patently ludicrous position to take, given how much they both allude to real-world issues like climate change and the drug trade — but, allowing for that, I don’t think the films care what their political allegiance is. That’s how some people can manage to read a movie in which the working-class hero blows up the world’s conspiring elites in order to stop the common folk from massacring each other as nothing but a right-wing fantasy, and how other people can manage to read a movie in which an unaccountable intelligence organisation gentrifies a lower-class kid to make him worth something, before blowing up an environmentalist and President Obama, as proletariat wish-fulfilment. Both of those describe The Secret Service, but there are elements in the sequel that have the same effect — this time, it’s your stance towards the war on drugs and how we deal with addicts that is being prodded.

View to a kill

All of that said, the more I’ve thought about the film afterwards (as you do, especially if you’re going to, say, write a review for a blog or something), the more some issues do begin to become apparent. While I don’t inherently object to the Glastonbury sequence (I’d wager it in part exists as another way for Vaughn to thumb his nose at critics of certain parts of the first movie, and he got ’em too), I do think there were cleverer ways to handle it. Vaughn has said that sequence is meant to be about having to do something you don’t want to do for the sake of your job, but that doesn’t wholly explain the teenage smuttiness of how it plays out. I mean, wouldn’t it be funnier if Eggsy felt he had to stick to his principles and find a way to clumsily shove his finger up Clara’s nose? Then phone Tilde back: “It’s okay babe, I only put it up her nose.” “You did what?!”

So yeah, it’s not a perfect movie. But, at least while it was on, I was having way too much fun to care. If you’re the kind of person who found something (or lots of things) about the first movie offensive to your moral fibre, chances are slim that you’ll like this sequel. Conversely, if you’re the kind of person who misses ’90s lads-mag culture, you’ll bloody love it, mate. For those of us somewhere on the (very broad) spectrum between those two points, other reviews make it clear that it’s not to everyone’s taste, but it was very much to mine. The niggles I’ve mentioned have led me to give it a lower score than the first film, but I reserve the right to change my mind as soon as I get a chance to rewatch it — I can envision myself ultimately revisiting The Golden Circle more regularly than The Secret Service.

4 out of 5

Kingsman: The Golden Circle is in cinemas most places now, and in the other places soon.

* At time of writing. It was 49% on Saturday and 51% on Sunday, so it might be different again by the time you read this. ^

Muppet Review Roundup

In today’s round-up:

  • The Muppet Movie (1979)
  • The Great Muppet Caper (1981)


    The Muppet Movie
    (1979)

    2017 #77
    James Frawley | 91 mins | TV | 1.85:1 | UK & USA / English | U / G

    The Muppet Movie

    “The Muppets Begin” in their big-screen debut, which seems Kermit going on a road trip where he encounters most of the key Muppets one by one, while being chased by a businessman who wants Kermie to be the poster-frog for his frog legs restaurant.

    It feels like a succinct distillation of the Muppet style, driven by gentle surrealism, meta humour, musical numbers, and a ton of cameos. How well the latter have aged in four decades is debatable — I knew a fair few (James Coburn, Telly Savalas, Elliott Gould, Bob Hope, Richard Pryor, Steve Martin, Mel Brooks, Orson Welles), but, looking at the list on Wikipedia, there were plenty I didn’t get. Time has also added humour where none was intended: Gonzo’s comment that he wants to go to India to become a movie star isn’t actually a Bollywood reference — Jim Henson picked the least likely place Gonzo could become a movie star, unaware they produce twice as many movies as Hollywood. Oops. On the other hand, I don’t know if the subplot where Gonzo seems to fancy chickens was ever just wacky, but today it feels weird and kind of disturbing.

    Aside from the recognisability of the cameos, the Muppet style has aged pretty well — some things that were once outré just become part of the culture as time wears on, but much of the Muppets’ material is still entertainingly irreverent today.

    4 out of 5

    The Great Muppet Caper
    (1981)

    2017 #87
    Jim Henson | 94 mins | TV | 1.85:1 | UK & USA / English | U / G

    The Great Muppet Caper

    The second big-screen outing for the Muppets sees casts Kermit, Fozzie Bear and Gonzo as reporters who travel to England to investigate a jewel theft. Of course, this being a Muppet movie, the plot is less important than the crazy comical antics.

    To that end there are some good songs and sequences: the opening number about it being a movie, the Happiness Hotel song, a couple of dance routines centred around Miss Piggy — one of those underwater! There are plenty of good individual lines as well, particularly when it breaks the fourth wall, which is often. Favourites include the commentary on the opening credits, noting an exposition dump, a gag about brief cameos, and a variety of neat running gags, in particular one about Kermit and Fozzie being indistinguishable identical twins.

    Other sequences are sadly less effective: the one in the park (even if the use of bikes is quite impressive); or, most disappointing of all, an extended skit with John Cleese. It also comes up short on the cameo front. There are a couple, but they don’t feel as frequent or all as well-known as in the first film. Maybe it shouldn’t matter, but it’s part of the Muppets’ schtick, so that aspect is left feeling rather anaemic by comparison to some of their other movies.

    Overall, The Great Muppet Caper is a solid, largely entertaining Muppet outing if you like these characters and their style of humour, but otherwise nothing exceptional.

    3 out of 5

  • Musical Review Roundup

    My blog is alive with the sound of music, courtesy of…

  • Sing Street (2016)
  • Jersey Boys (2014)
  • Sing (2016)
  • Into the Woods (2014)


    Sing Street
    (2016)

    2017 #13
    John Carney | 106 mins | streaming (HD) | 2.35:1 | Ireland, UK & USA / English | 12 / PG-13

    Sing Street

    A struggling busker — sorry, a failing record exec — no, sorry, a misfit teenage boy… sets out to impress a beautiful fellow busker — sorry, a promising singer-songwriter — no, sorry, a cool girl… by helping her record a record — sorry, by coercing her to record a record — no, sorry, by persuading her to star in the music video for the record he’s recorded. Except he hasn’t actually recorded that record yet. In fact, he doesn’t even have a band.

    Yes, the writer-director of Once and Begin Again has, in some respects, made the same film again. Yet somehow the formula keeps working. Here there’s extra charm by it being school kids dealing with first love and finding their place in the world. It’s something we all go through, so there’s a universality and nostalgia to it that perhaps isn’t present in the story of twenty/thirty-somethings who are still floundering around (especially Begin Again, which made them cool twenty/thirty-somethings living in cool New York).

    It’s fuelled by endearing performances, particularly from young leads Ferdia Walsh-Peelo and Lucy Boynton, and a soundtrack of era-aping toe-tappers — in an alternate (better) universe, The Riddle of the Model and Drive It Like You Stole It competed for the Best Original Song Oscar, and one of them won it too. And those are just the highlights — the rest of the soundtrack is fab as well. I imagine if you were a music-loving teenager in the ’80s, this movie is your childhood fantasy.

    5 out of 5

    Jersey Boys
    (2014)

    2017 #97
    Clint Eastwood | 134 mins | streaming (HD) | 2.35:1 | USA / English | 15 / R

    Jersey Boys

    A musical biopic about Frankie Valli and the Four Seasons doesn’t seem like a very Clint Eastwood film at first glance, but when it turns out to be kind of Goodfellas but with the music industry, it becomes at least a little more understandable.

    Based on the hit Broadway musical, it retains a staginess of structure — the four band members take turns narrating the story by speaking to camera — while also opening out the settings so it feels less “jukebox musical” and more “biopic with songs”. It takes some liberties with the chronology of events for dramatic effect, but that’s the movies for you.

    The shape of the story feels familiar and it feels leisurely in the time it takes to tell it, but the songs are good and most of it is perfectly likeable. It’s by no means a bad movie, just not one that’s likely to alight any passion.

    3 out of 5

    Sing
    (2016)

    2017 #107
    Garth Jennings | 108 mins | download (HD+3D) | 1.85:1 | USA / English | U / PG

    Sing

    The seventh feature from Illumination (aka the Minions people) comes across like a cut-price Zootopia: in a world where animals live side-by-side in cities like humans, a struggling theatre owner launches an X Factor-esque singing competition to revive his fortunes. Naturally there’s a motley cast of participants, all with celebrity voices, and hijinks ensue.

    Apparently the film features 65 pop songs, the rights to which cost 15% of the budget — if true, that’s over $11 million just in music rights. The big musical numbers (all covers, obviously) are fine, with the best bit ironically being the new Stevie Wonder song on the end credits, which is accompanied by Busby Berkeley-ing squid. Elsewhere, there are some moments of inventiveness, but it doesn’t feel as fully realised as Zootropolis. Perhaps that’s part and parcel of Illumination’s ethos: to make films that translate internationally, presumably by being quite homogeneous. And to make them cheaply (their budgets are typically half of a Pixar movie), which has its own pros and cons.

    Anyway, the end result is fine. Much like Jersey Boys, Sing is perfectly watchable without ever transcending into anything exceptional.

    3 out of 5

    Into the Woods
    (2014)

    2017 #118
    Rob Marshall | 125 mins | streaming (HD) | 2.39:1 | USA, UK & Canada / English | PG / PG

    Into the Woods

    Fairytales are combined and rejigged in Stephen Sondheim’s Broadway musical, here brought to the screen by the director of Chicago. The original is a work that definitely has its fans, but doesn’t seem to have crossed over in the way of, say, Phantom of the Opera or Les Mis — I confess, I’m not sure I’d even heard of it before the film was announced.

    The film adaptation readily suggests why that might be. For one, it’s light on hummable tunes. It’s almost sung through, with only a few bits seeming to stand out as discrete songs in their own right. For example, it takes the opening number a full 15 minutes to reach its culmination, having been diverted into a few asides. Said song culminates with most of the main characters going into the woods while singing about how they’re going into the woods, and yet the film doesn’t put its title card there. The placement of a title card is a dying art, I tell you.

    Performances are a mixed bag. Everyone can sing, at least (by no means guaranteed in a modern Hollywood musical adaptation), and the likes of Emily Blunt, James Corden, and Anna Kendrick are largely engaging, but then you’ve got Little Red Riding Hood and her incredibly irritating accent. Fortunately, she gets eaten. Unfortunately, she gets rescued. On the bright side there’s Chris Pine, his performance well judged to send up the romantic hero role. You may remember Meryl Streep got a few supporting actress nominations for this, which is ludicrous. It’s not that she’s bad, but she’s in no way of deserving of an Oscar.

    There are witty and clever bits, both of story and music, but in between these flashes it feels kind of nothingy. It’s also overlong — the plot wraps up at the halfway point, with the second half (presumably what comes after an interval on stage) feeling like a weak sequel to the decent first half. All in all, another one for the “fine, but could do better” pile.

    3 out of 5

  • Free Fire (2016)

    2017 #105
    Ben Wheatley | 91 mins | Blu-ray | 2.39:1 | UK & France / English | 15 / R

    Free Fire

    The latest film from director Ben Wheatley (he of Kill List, Sightseers, A Field in England, High-Rise, and the rest) is by far his most accessible movie yet. Set in Boston in the ’70s, it sees two IRA fellas (Cillian Murphy and Michael Smiley) arranging through a pair of black market brokers (Brie Larson and Armie Hammer) to purchase guns from some arms dealers (Sharlto Copley and Babou Ceesay), with each side bringing along a couple of chaps to carry boxes (Sam Riley, Jack Reynor, Noah Taylor, and Enzo Cilenti). But things go sideways when a couple of those minor participants have a falling out, leading to a protracted shoot-out. “Protracted” as in “two-thirds of the movie”.

    If an hour-long gunfight doesn’t sound like your cup of tea, maybe Free Fire isn’t the movie for you. Conversely, this isn’t a Jason Statham flick: instead of an hour of highly-choreographed gunplay, most of the participants get injured early on and end up seeking cover around the rubble-strewn floor of an abandoned factory, occasionally taking potshots at each other. Most action movies are defined by their characters sprinting about — in this one, they crawl. The screenplay was partly inspired by FBI ballistics reports from real gunfights, so there’s actually some veracity to how things go down.

    Guys with guns

    So, on the one hand, it has a definite grit and reality. Bullet wounds actually hurt, leaving characters dragging themselves around in the dirt. Although there are occasional bullet-flying free-for-alls, just as often every shot counts. Similarly, their guns run out of bullets — frequently. Sometimes, permanently. On the other hand, however, it’s a bit like something Quentin Tarantino or Guy Ritchie might once have made, although thankfully without slavishly duplicating either of their overfamiliar styles. Without being an out-and-out comedy, it’s often pretty funny, thanks to the ludicrous situation and outrageous characters — all while remaining just this side of plausible, that is.

    Unfortunately, the thin premise means it lags a bit in the middle. It feels in need of a clearer overall purpose and one or two more ideas. A better sense of space would help, too. We know who’s shooting at who, but for a long time we don’t really know where they all are in relation to each other. That’s not a deliberate choice to evoke the confusion of a gunfight or something — the characters all seem to know where they need to point their weapons. It’s a lack of filmmaking clarity, exposed in the Blu-ray’s behind-the-scenes featurette when it’s revealed how meticulously and thoroughly the whole thing was mapped out — it’s a real shame that doesn’t translate on screen.

    More guys with guns

    These are flaws that hold Free Fire back from perfection, mind. It’s still a fitfully funny, sporadically tense, gleefully violent hour-long shoot-out. And events occur in real-time, too, which I always have a soft spot for. When all is eventually said and done, I doubt critics and scholars are going to hold it up as a key film of Wheatley’s career, but I’d wager it’s the one most people will get the most enjoyment from.

    4 out of 5

    Free Fire is released on DVD and Blu-ray in the UK today.

    She isn’t pictured in the review, so here’s a bonus one of Brie Larson being badass:

    Badass Brie

    22 Jump Street (2014)

    2017 #99
    Phil Lord & Christopher Miller | 112 mins | Blu-ray | 2.40:1 | USA / English | 15 / R

    22 Jump Street

    After the genuinely surprising success (both critically and financially) of the 21 Jump Street movie, a sequel was inevitable. This is that sequel — and it won’t let you forget it.

    In the first movie, best-buddy cops Jenko (Channing Tatum) and Schmidt (Jonah Hill) went undercover in a high school to unearth a drug ring. Now, they go undercover in a college to unearth a drug ring. Sequels, eh? But it’s okay because the film makes a running joke out of how it’s just rehashing what worked in the first movie. I say “it’s okay” — some people seem to fundamentally object to this, saying that acknowledging that it’s a copy doesn’t stop it being a copy. Personally, I give the film a bit more credit than that. It’s a copy because it’s funny when it’s a copy, not because it has absolutely no new ideas.

    In part, it knows when to improve on itself: they’ve taken one of the most memorable and likeable bits of the first movie — the meta-jokes at the expense of the film itself — and ramped them up to 11. And it works. Or, at least, it did for me. Is this the most meta comedy ever? I dunno, but I can’t think of another that so relentlessly riffs off both the expected tropes of its genre and its own status as a sequel. It broadens the remits to movies in general, too — when it finally paid off, the meticulously over-constructed ‘meet cute’ gag elicited one of the biggest laughs I’ve had at a film in a long time. I’m almost loathe to mention it, because it works best when you have no idea that’s where it’s going, but oh well. Similarly, the widely-discussed end credits must’ve been a real hoot when they were a total surprise. Fortunately, they’re still a ton of fun even if you’ve had the joke ruined. (As I’ve already half-spoiled one moment, and the credits were pretty widely covered back when the film first came out, I shall say no more.)

    Crash helmet

    The one shame in all this is that it rehashes the last movie’s relationship arc for the leads. Gags about it being exactly the same movie are funny when they’re overt, like with the main drug investigation plot, but it’s like no one in production noticed that they’d reheated the character arcs. It does kind of go somewhere new with it, but only in the sense that it’s inverted which of the pair soars and which feels left out. Nonetheless, it stills leads to some funny scenes, like the “break up” and a counselling session, so at least it’s not a complete loss.

    When a movie nobody expected anything good of becomes a hit and they rush to produce a sequel, you’d expect nothing more than a lazy rehash. 22 Jump Street takes that ball and runs with it, turning its lazy rehashery into meta-humour that makes the movie more-or-less the equal of its predecessor.

    It’s a shame the threequel seems to have become lost down the dead-end of making it a Men in Black crossover because I wouldn’t mind seeing trilogies given the Jump Street treatment. But you never know, maybe that’ll become the silver lining to the Han Solo fiasco.

    4 out of 5

    Channing Tatum stars in another spoof cop series, Comrade Detective, available on Amazon Prime from today.

    Finding Nemo (2003)

    The 100 Films Guide to…

    There are 3.7 trillion fish in the ocean.*
    They’re looking for one.

    Country: USA
    Language: English
    Runtime: 100 minutes
    BBFC: U
    MPAA: G

    Original Release: 30th May 2003 (USA & Canada)
    UK Release: 10th October 2003
    Budget: $94 million
    Worldwide Gross: $940.3 million (including a 3D re-release)

    Stars
    Albert Brooks (Broadcast News, Drive)
    Ellen DeGeneres (Mr. Wrong, EDtv)
    Alexander Gould (Bambi II, Curious George)
    Willem Dafoe (Platoon, Antichrist)

    Director
    Andrew Stanton (WALL·E, John Carter)

    Screenwriters
    Andrew Stanton (Toy Story, Monsters, Inc.)
    Bob Peterson (Up, Cars 3)
    David Reynolds (The Emperor’s New Groove, Chicken Little)

    Story by
    Andrew Stanton (A Bug’s Life, Toy Story 2)


    The Story
    When clownfish Nemo is netted by a diver, his nervous father swims across the ocean in search of his son. Meanwhile, Nemo tries to escape the fish tank he’s wound up in.

    Our Heroes
    Single dad Marlin just wants the best for his son, Nemo, but his worries make him overprotective. However, little Nemo is braver and more capable than he knows. It must run in the family, because Marlin steps up to go to the ends of the Earth to rescue his son, aided by the forgetful but kind-hearted Dory.

    Our Villains
    Not exactly villain in the traditional sense, but the dentist who bagged Nemo, and is intending to give him as a present to his overenthusiastic niece, did start all this trouble and is putting the eponymous fishy in harm’s way, so…

    Best Supporting Character
    As you might expect from what is in many respects an under-the-sea road movie, our heroes encounter an array of colourful characters on their journey. Perhaps the most memorable is turtle Crush, voiced by director Andrew Stanton, who’s characterised as a surfer dude. (According to The Disney Wiki, he’s also the films tetartagonist, which is a word I never knew I needed until now. Though, by the time you’re down to the level of the fourth protagonist, you’re getting into murky waters. I mean, when you consider the importance of Gill, maybe Crush is actually the pentagonist? Or the sentagonist? Or maybe we shouldn’t even be using these labels in the first place.)

    Memorable Quote
    Mine.” — seagulls

    Memorable Scene
    Marlin and Dory meet a ‘friendly’ shark, Bruce, who coerces them into attending a meeting of his support group for sharks who are trying to reform from their fish-eating ways. “Fish are friends, not food”… until a shark smells blood, anyway.

    Next time…
    13 years later, the gang got back together for Finding Dory.

    Awards
    1 Oscar (Animated Feature)
    3 Oscar nominations (Original Screenplay, Score, Sound Editing)
    1 BAFTA nomination (Original Screenplay)
    1 BAFTA Children’s Award nomination (Feature Film)
    9 Annie awards (Animated Theatrical Feature, Directing in an Animated Feature, Writing in an Animated Feature, Voice Acting in an Animated Feature (Ellen DeGeneres), Music in an Animated Feature, Character Design in an Animated Feature, Production Design in an Animated Feature, Character Animation, Effects Animation)
    3 Annie nominations (Character Animation x2, Effects Animation)
    2 Saturn awards (Animated Film, Supporting Actress (Ellen DeGeneres))
    3 Saturn nominations (Writing, Music, DVD Special Edition)
    Nominated for the Hugo for Best Dramatic Presentation, Long Form
    2 Kids’ Choice Awards (Favorite Movie, Favorite Voice from an Animated Movie (Ellen DeGeneres))
    1 Kids’ Choice Awards nomination (Favorite Fart in a Movie — the winner was Kangaroo Jack)


    Verdict

    Finding Nemo is one of the films that helped establish Pixar’s name as a byword for quality animation. While it’s a very likeable movie, I must admit I’ve never loved it. Perhaps its popularity and impact has more to do with when it was released: Disney’s primary movies at the time were mired in the likes of Treasure Planet and Home on the Range, and DreamWorks’ only real achievement was the first Shrek. That said, I don’t want to do Nemo a disservice: it’s packed to the gills with engaging characters, memorable lines, funny ideas, colourful designs, and a couple of strong moral messages. It’s a true family movie.

    * Actually, no one can ever know exactly how many fish there are in the ocean. According to some sources, the real number is probably closer to between 1 and 4 quadrillion! We just wanted to emphasize the boatload of fish that live in the world’s oceans and one fish’s incredible quest to find his lost son. If you think you know the actual number, we’d like to know too! Contact us at: findingnemo.com

    Ocean’s Eleven (2001)

    The 100 Films Guide to…

    3 casinos.
    11 guys.
    150 million bucks.
    Ready to win big?

    Country: USA
    Language: English
    Runtime: 117 minutes
    BBFC: 12
    MPAA: PG-13

    Original Release: 7th December 2001 (USA & Canada)
    UK Release: 15th February 2002
    Budget: $85 million
    Worldwide Gross: $450.7 million

    Stars
    George Clooney (Batman & Robin, Michael Clayton)
    Brad Pitt (Fight Club, World War Z)
    Matt Damon (The Talented Mr. Ripley, Jason Bourne)
    Andy Garcia (The Godfather: Part III, Jennifer 8)
    Julia Roberts (Pretty Woman, Closer)

    Director
    Steven Soderbergh (Traffic, Magic Mike)

    Screenwriter
    Ted Griffin (Ravenous, Matchstick Men)

    Based on
    Ocean’s Eleven, a 1960 film starring the Rat Pack.


    The Story
    A gang of crooks plot the biggest heist in Las Vegas history: robbing three casinos at once.

    Our Heroes
    Danny Ocean, a charming con man fresh out of prison, planning his biggest job yet — well, anyone’s biggest job yet. To do it he’ll need ten more men, including right-hand-man Rusty, newbie Linus, explosives expert Basher, inside man Frank, old pro Saul, tech head Livingston, gymnast Yen, general double-act support Virgil and Turk, and all of it bankrolled by Reuben.

    Our Villains
    Smug Las Vegas big shot Terry Benedict, owner of all three casinos the gang are targeting. Also: he’s shagging Ocean’s ex-wife.

    Best Supporting Character
    The aforementioned former Mrs Ocean, Tess, who’s shacked up with Benedict in part because he’s a more honest man than her ex. Or so she thinks…

    Memorable Quote
    Danny: “Because the house always wins. Play long enough, you never change the stakes, the house takes you. Unless, when that perfect hand comes along, you bet big, and then you take the house.”
    Rusty: “Been practicing that speech, haven’t you?”
    Danny: “Little bit. Did I rush it? Felt like I rushed it.”
    Rusty: “No, it was good, I liked it.”

    Memorable Scene
    As with any good entry in this genre, the heist itself — which is less “a scene” and more “the third act”, of course — is the highlight of the movie.

    Letting the Side Down
    Don Cheadle’s cockney accent is less Guy Ritchie, more Dick Van Dyke. But then, as we know, that’s how cockneys are meant to sound anyway.

    Next time…
    A pair of less well regarded sequels followed in 2004 and 2007 (ten years ago! Time flies), while an all-female spin-off is out next summer.

    Verdict

    As slick and stylish now as it was a decade-and-a-half ago, Steven Soderbergh’s remake of the Rat Pack comedy-thriller is that rarest of all things in moviedom: a remake that’s better than the original. Apparently Soderbergh said that he saw this as an opportunity to give audiences “pleasure from beginning to end… a movie that you just surrender to, without embarrassment and without regret.” Well, he nailed it. It’s a film packed with likeable characters, memorable lines, snazzy direction, cool music cues, and the raison d’être of a heist movie: a final act that pulls the wool over the audience’s eyes. It’s pretty much perfect entertainment.

    The Adventures of Buckaroo Banzai Across the 8th Dimension (1984)

    2016 #134
    W.D. Richter | 103 mins | Blu-ray | 2.35:1 | USA / English | 12 / PG

    The Adventures of Buckaroo Banzai Across the 8th Dimension

    Buckaroo Banzai seems to have quite the cult following in the US, but, as far as I understand, it never made an impression over here; not until the internet enabled such cults to go global, anyway. It has big-name fans (one, Kevin Smith, was developing a remake for Amazon until legal wrangles got in the way), so of course it’s been noticed in more recent times. I’ve been somehow aware of it for ages, but finally got round to seeing it last year after Arrow put it out on Blu-ray.*

    For those equally unfamiliar with the film, it’s an action-adventure sci-fi satirical comedy (kinda), concerning an adventure (one of many, I imagine) of Dr. Buckaroo Banzai (RoboCop’s Peter Weller), the famous physicist, neurosurgeon, test pilot, and rock musician. While testing a device that allows him to pass through solid matter, Banzai briefly travels to another dimension. This kickstarts a series of events that leads to the escape of evil aliens the Red Lectroids, who Banzai must defeat lest it brings about the end of the world. That’s the streamlined version, anyway.

    To be perfectly honest, I’ve found it quite hard to tell what I thought of Buckaroo Banzai. On the one hand, I can definitely see where it gets its cult appeal, and I appreciate some of the ways it’s being different and boundary pushing. On the other, there’s been a definite backlash to it and I can appreciate where that comes from too — the criticism that some of that “boundary pushing” is merely sloppy storytelling and crazy overacting. There are parts where it’s hard to tell if it was deliberate and quite clever, or just incompetently done. Part of the problem (but also the appeal) is that it’s played so straight. It’s unquestionably a comedy — it’s too ludicrous to be anything else, and the sheer build-up of comedic lines becomes clear as it goes on — but it’s all played with such a straight face that I can see why you’d think everyone involved believed they were making something serious.

    Dr Buckaroo Banzai

    There are ways it could be ‘normal’, too: it contains so many elements that could be used to construct a traditional narrative — a new member being introduced to the gang, a love interest, an inciting incident which kicks off the events of the narrative, and so on — but it chooses to use none of these in a traditional way, instead being batshit crazy and thoroughly unique with it. Interestingly, director W.D. Richter was also one of the writers on Big Trouble in Little China, which is another action-adventure movie featuring a similar loose, crazy, fever-dream style. (Of all things, he also wrote Stealth, the forgotten-as-soon-as-it-was-released jet-pilots-vs-AI action thriller starring Jessica Biel and Jamie Foxx from 2005.) I can see how, after a diet of mainstream adventure cinema, something like this could feel refreshing. It’s almost like counter-culture pulp; like a Rocky Horror for the ’80s, but without the camp. (Or, at least, not the same kind of camp — I mean, have you seen what Jeff Goldblum’s wearing?)

    In the booklet accompanying Arrow’s Blu-ray, James Oliver talks about cult movies and their history. “Cult” is sometimes used nowadays as a catch-all term for anything in the broad sci-fi / fantasy / horror realm, or with a dedicated and eager fanbase. It’s almost mainstream. The term’s roots lie in the opposite direction, of course — films that critics and mass moviegoers disliked but that developed a following of people who appreciate and defended them nonetheless. This is a lot easier and quicker than it used to be since VHS came along, and even more so in the era of DVD and Blu-ray. Banzai was possibly the first cult film to benefit in this way. Oliver concludes by reasoning that the film “resists easy assimilation. It plays too many games to be embraced by everyone and is, accordingly, often patronised or even denigrated, even by some of those who usually like cult movies. But such resistance just makes those who love it love it just that little bit harder. So it is a cult movie and, no matter how much the meaning of that phrase may mutate over time, it likely always will be.” Based on the aforementioned backlash — how it’s had a chance to move in a more widely-known direction but hasn’t done so — I think he’s right.

    Villains

    Personally, I’m still conflicted. I sort of didn’t think it was all that great, but also loved it at the same time. “Loved” might be too strong a word. I admired some of the ways it was different from the norm. Plus there are some very quotable lines, and the music that kicks off the end credits is relentlessly hummable. On balance, I really wanted to like it more than I actually did like it. Maybe I’ll get there on repeat viewings (because we know how good I am at getting round to those…)

    3 out of 5

    * Said Blu-ray was actually released two years ago this month — where does time go?! ^

    Review Roundup

    In today’s round-up:

  • Snoopy and Charlie Brown: The Peanuts Movie (2015)
  • 13 Hours: The Secret Soldiers of Benghazi (2016)
  • Young Frankenstein (1974)


    Snoopy and Charlie Brown:
    The Peanuts Movie

    (2015)

    aka The Peanuts Movie

    2017 #25
    Steve Martino | 84 mins | streaming (HD) | 1.85:1 | USA / English | U / G

    Snoopy and Charlie Brown: The Peanuts Movie

    Charles M. Schulz’s popular comic strip hits the big screen in this likeable but hardly Pixar-level movie. Much of it plays like a series of shorts or sketches with a connected theme rather than a feature-length narrative — kind of like binge-watching a cartoon series — but they’re pleasant enough. There are some good gags (“Leo’s Toy Store by Warren Piece”), though the saccharine ending is a bit much and the pop songs are terrible. One review described Snoopy as “Peanuts’ Tyler Durden”, which is a thought that entertained me even more than the film.

    The most notable aspect is the animation style. Schulz’s strips have a distinct 2D style, but the movie is animated in 3D, presumably because you’re not allowed to make a Western kids’ movie with 2D animation anymore. Nonetheless, most of The Peanuts Movie is composed to emulate Schulz’s original strips, i.e. quite flatly — like, you know, 2D. And yet, somehow… Well, The Telegraph’s Robbie Collin summarised it well in his review: “Written down, [the animation style] just sounds chaotic, like a four-way mash-up of South Park, The Clangers, Wallace & Gromit and a flip book. But in motion, it’s a thing of serious, faux-artisanal beauty”. That might be going a bit far, but I did end up kinda liking the visuals. It’s quite a clever style for 3D, mixing in many 2D-ish touches. It should probably be a mess, but it weirdly works.

    3 out of 5

    13 Hours:
    The Secret Soldiers of Benghazi

    (2016)

    2017 #40
    Michael Bay | 139 mins | streaming (HD) | 2.35:1 | USA / English | 15 / R

    13 Hours: The Secret Soldiers of Benghazi

    The not-at-all-controversial events in the Libyan town of Benghazi on 11th September 2012 are here dramatised by that master of subtlety and understated reality, director Michael Bay, so you know you’re going to get a considered and truthful account of events.

    Yeah, most of that opening paragraph is completely facetious. Bay takes a real-life gunfight, in which a secret mercenary security team went against orders (possibly) to defend an American diplomatic compound that was under assault, and turns it into a blazing action movie that may as well be scored with the theme from Team America: World Police. If it was Bay’s goal to convey the sheer confusion on the ground in the midst of the situation, I guess he’s done a bang-up job. The problem is, that confusion extends to bits where the characters seem to have some idea what’s going on, but we’re left half in the dark.

    Having Bay be reined in after the excess of his Transformers movies is no bad thing, but being completely constrained by reality is not his strong suit either — the heightened reality of something like The Rock is where he excels.

    If you’re interested in a longer read on the film’s adherence (or otherwise) to reality, this article at Vox is interesting.

    3 out of 5

    Young Frankenstein
    (1974)

    2017 #46
    Mel Brooks | 106 mins | streaming (HD) | 16:9 | USA / English | PG* / PG

    Young Frankenstein

    I have mixed feelings about the work of Mel Brooks. I reviewed his Hitchcock spoof, High Anxiety, back in 2009 and found it wanting. I reviewed his Robin Hood spoof, Men in Tights, earlier this year and found it uncomplicated but enjoyable. When I was a kid I liked his Star Wars spoof, Spaceballs, but on a slightly-more-adult rewatch I enjoyed it less. And as for Blazing Saddles, regarded by some as one of the pinnacles of screen comedy… no, I didn’t like it. At all. I so didn’t like it that I really must rewatch it to see if I can see what I didn’t see.

    Young Frankenstein was released the same year as Blazing Saddles, and is placed on a similar pedestal by many — slightly higher, on the whole (Frankenstein edges it by a few points on IMDb, Rotten Tomatoes, and Metacritic). It’s quite remarkable that Brooks managed to produce two such esteemed movies within the same year. At least I liked one of them.

    Young Frankenstein has many funny lines and moments, including a lot of familiar Brooksisms (“walk this way”) and, in the Puttin’ on the Ritz number, perhaps one of the funniest sequences ever committed to film. The films being spoofed (Universal’s classic monster movies) are evoked well, in particular with the potent black and white cinematography, but Brooks also lets things spiral off in their own direction when warranted. On the downside, I’d say it’s a little too long.

    Don’t take that criticism too seriously, though. I enjoyed it very much.

    4 out of 5

    * Hilariously, in 1987 the BBFC thought it should be rated 15. It wasn’t downgraded to the much more sensible PG until 2000. ^