THE BATMAN

 Robert Pattinson     Zoe Kravitz     Paul Dano     Colin Farrell

Peter Sarsgaard     Andy Serkis     Jeffrey Wright

            An eerie story with continually changing perspectives within a complex plot.  It’s especially remarkable that the musical theme throughout this action film is “Ave Maria” (part of the humor, I think).  Thankfully, in a three-hour film there is plenty of action to make the time go by quickly, especially since there are many, many characters to sort out and puzzles delivered by the Riddler to decipher.  Another entertaining aspect of the plot are numerous plays on words, such as “thumb drive” and one of the riddles being, “What does a liar do when he’s dead?...He lies still.”

            Robert Pattinson as this Batman in his second year of fighting crime convincingly portrays the mysterious, stoic figure he is known to be, even when sorely tried by The Riddler (who is targeting Gotham City residents) and fetchingly tempted by the exotic Selina Kyle (Kravitz), who is almost as fierce a fighter as Batman.  Colin Farrell is unrecognizable as a thug called The Penguin, and these fine actors are joined by Jeffrey Wright (a detective on the police force), Paul Dano (a crazed orphan grown up), Peter Sarsgaard (as a corrupt city official), Andy Serkis (in the purely dramatic role as Alfred Pennyworth), and John Turturro (in his rare portrayal of a bad guy).  

            Likewise, the crafts are well represented by Greig Fraser’s cinematography, Michael Giancchino’s music, and their colleagues in production design, sound (ah!, the effect of Batman’s ominous footsteps), costume and makeup, and special and visual effects.  Fraser has many scenes so dark it takes some work to figure out what is going on, and with some, being seen only through windows.  But stand-outs are the impressively composed shots that could stand alone as artistic productions. 

            I can say that the usual car chase that seems to be a must in this genre is present here as well, in just as much ridiculous, impossible feats as in all the others.  Two cars racing down a crowded turnpike while going against traffic and everyone in those two cars surviving goes way beyond the pale for me.

            All of these attributes (except for the car chase) are testament to Matt Reeves’ direction and co-authorship with Peter Craig.  (Bob Kane and Bill Finger are the original creators.)  Clearly these filmmakers and their associates collaborated well as a team in creating a work of art that allows us a sense of peeking in on an unfolding drama among real people that is relatable to most of our lives today.  I especially appreciated something not usually seen in this type of film—the realistic portrayal of deep emotions and conflicts (including Batman’s self doubts—which I think make the characters seem like real people to us.  Batman’s history with his family of origin and his having to sort out truth from fiction is an example of this asset.

 

The Batman is a combination of mystery, logical deduction, family drama, and spectacle that is likely to be entertaining to most people.

 

Grade:  A                              By Donna R. Copeland

LONG SHOT

Charlize Theron     Seth Rogen     Bob Odenkirk     Andy Serkis

O’Shea Jackson, Jr.     June Diane Raphael    Alexander Skarsgard

     Do you ever wish you would have gone home after the first half of a movie?  That’s how I ended up feeling after seeing Long Shot.  The first part is really, really funny and clever with so many apt political aspersions (e.g., a President who is not going to run again because he aspires to a career in film) and the all-so-real character Fred Flarsky (Rogen), an intelligent nerd (ahem…journalist—but one with principles).  His emptying his pockets at a government security gate is priceless.  And check out that last name!

     Playing a regal Secretary of State with charismatic elegance, Theron as Charlotte Field delightfully out-plays all her rivals.  She is so astute a politician, one has to admire her skill in diplomacy, cloaked in a gorgeous appearance, as she plugs a project that she has been invested in since a budding activist in high school.

     An unlikely couple?  Well, yeah! This is what gives the comedy depth—a real-life situation.  She used to babysit him, and he has had a crush on her ever since.  It’s gratifying that, despite her charisma and political know-how, Charlotte is shown to have a solid grounding in principles of social concerns.  This is the making of what could be a gripping comedy with truth and heart.

     Unfortunately, the filmmakers are playing to what they perceive is the money-making audience, so drugs are introduced.  Ha-ha!  So funny!  But lo and behold!  These drugs are shown to be an aid in a high-level diplomatic negotiation.  (It’s only ever going to happen in a movie.)  

     From there, the filmmakers once again take the crowd-pleasing way out, and concoct an ending that—once again—could only happen in the movies.

     This production has so much talent in its filmmaking and acting components (director Jonathan Levine, Theron, Rogen, Odenkirk, Serkis, Skarsgard, e.g.), and not many would have expected that Theron and Rogen could have achieved such a convincing connection.  But it’s a shame the easy way out was chosen, rather than a riskier, bold, and insightful approach that would shine a light on our current world.

     In the end—such potential squandered on crowd-pleasing turns is very sad.

A fine comedy with potential to make a bold statement chooses the soft way out.

Grade:  C-                                    By Donna R. Copeland

MOWGLI: LEGEND OF THE JUNGLE

Voices of:  Cate Blanchett     Christian Bale     Benedict Cumberbatch     Peter Mullan 

 Andy Serkis     Tom Hollander     Naomie Harris     Freida Pinto

Rohand Chand as Mogli and Matthew Rhys as a researcher

     I’m a bit puzzled as to why this movie was made, following so closely upon the very successful 2016 film, “The Jungle Book”, a Disney production based on the Rudyard Kipling novel directed by Jon Favreau.  This version, with a screenplay by Callie Kloves and directed by Andy Serkis, pretty much follows the same story of a child being brought up by the animals when his parents are killed in the jungle by a tiger named Shere Khan (Cumberbatch).  Mowgli (played here by Rohand Chand) tries valiantly to keep up with his “pack” (tested in a race), but when he starts to come of age, it is clear that he can’t keep up and that he is becoming more and more like a human man. His two main advisors, panther Bagheera (Bale) and bear Baloo (Serkis), see to it that he joins the group of villagers who live nearby.  That’s not the end of the story; heroics will follow.

     The strongest asset of this Mowgli lies in a stellar cast.  Cate Blanchett as the initial narrator and embodied as the python Kaa delivers authoritative/threatening/protective lines in a voice that conveys the message very clearly.  Christian Bale and Andy Serkis serve as the wise overseers of the pack and of Mowgli that connotes both patriarchy and loving concern.  Benedict Cumberbatch issues ferocious, lip-smacking threats that seem even more threatening with a British accent. And finally, Rohand Chand is successful in convincing us of a feral child gradually becoming acquainted with his own tribe.  

     Aside from this version of The Jungle Book being an unnecessary, less successful remake, it does have a plot that is engaging and offers some good counsel to children in its message about the importance of social groups and cooperation to achieve goals, “specialness” not necessarily being an asset, and the value of wise counsel even when it feels uncomfortable. On the other hand, inserting the character John Lockwood (Rhys) as an alcoholic, boorish researcher having no human interest in his subjects, is offensive and disrespectful to the many anthropological/sociological scientists who have given us valuable information. I have no idea why this character was included.

     I expect that children may enjoy the color and the story about a child brought up in the jungle, but it is probably not one that will stay with them for long.  And it probably won’t engage their parents at all.  

More tales of a feral child and his adventures in the jungle.

Grade:  C                                    By Donna R. Copeland

BLACK PANTHER

Chadwick Boseman     Lupita Nyong’o     Angela Bassett     Letitia Wright     Danai Gurira    

Michael B. Jordan     Andy Serkis     Sterling K. Brown     Martin Freeman     Daniel Kaluuya

     Talk about a rising star; writer/director Ryan Coogler has made big splashes in just a few years with his award-nominated and winning Fruitvale Station (2013) and Creed (2015), and now stands to earn much high praise for Black Panther.  He is lauded for delivering productions with all of the elements of notable films—entertainment, fantasy, emotionality, and meaning while weaving in topical issues of race, gender, and government.

    All of those qualities emerge in Black Panther, a mythologically-informed story about destiny, rightful heirship, sibling rivalry, and legacy.  But current politically sensitive issues are present as well, such as state protectionism vs. participation in world affairs, treason vs. loyalty, and methods for achieving power/respect in the world.

     T’Challa (Boseman) is the heir-apparent for the kingship (in the form of Black Panther) of Wakanda, a fictional country somewhere in Africa, notable for its natural resource metal of vibranium, which allows the country to develop uncommon technological achievements, while passing themselves off as a third world country (a protectionist endeavor).  Then the intrigue begins, when Wakandan prince N’Jobu (Brown) decides that Wakanda should share its knowledge to be of service to the rest of the world, which is further complicated by the surprise appearance of an American rival (Jordan) to the Wakanda throne who is accompanied by a notorious arms dealer (Serkis).   Battles ensue, which test the loyalty of some and throw T’Challa’s right to the throne in doubt.

     Chadwick Boseman as Black Panther exemplifies a strong leader from a distinct culture who eschews war and is committed to truth and right.  Michael B. Jordan exemplifies a worthy opponent who, brought up in the American way of thinking, is convinced that power/might is the only way to assure that “good” things happen.  I particularly loved the strong women surrounding the Black Panther, who represented loving, civic-minded mother (Bassett), technologically savvy sister Shura  (Wright), trusted secret service head Okoye (Gurira), and cagy spy and love interest Nakia (Nyong’o).  It’s so refreshing to see women in traditionally male roles, especially Nakia exerting a humanitarian voice and Shura a technology guru. 

     Boseman as the Black Panther effortlessly keeps real the fine lines between statesman, warrior and pacifist.  Michael B. Jordan chews up his role as the African American brought up in the U.S. with a historic heritage he doesn’t quite understand.  Daniel Kaluuya is ever subtle but strong in his role as W’Kabi, torn between two different regimes.  Andy Serkis—long overdue for an acting award—plays a deliciously evil arms dealer.  Martin Freeman of the Hobbit’s Bilgo Baggins fame is extraordinary as an American CIA agent (excellent casting!).  And, finally, Forest Whitaker ably plays the reverential priest Zuri who must swear in new kings of Wakanda.

     This is certainly a film that can be viewed numerous times for its complexities of plot and message and its performances by the principal players. 

Black male and female superheroes abound in this unusual action movie touching on race, destiny, thrones, and legacy, making an exciting addition to the action/fantasy genre.

Grade:  A                                    By Donna R. Copeland

STAR WARS: THE LAST JEDI

Daisy Ridley     Domhnall Gleeson     Adam Driver     Oscar Isaac

Mark Hamill     Carrie Fisher     John Boyega     Kelly Marie Tran      

Benecio Del Toro     Andy Serkis     Laura Dern     Justin Theroux

     Not many films and filmmakers can keep up the momentum that the two space fantasies Star Wars and Star Trek have, and in this eighth sequence of Star Wars, writer/director Rion Johnson proves that this franchise is still good to go.  He does a good job in preserving and renewing beloved themes and images while introducing new ones that point toward the future.  We see two of the original characters, Luke Skywalker (Hamill) and Princess Leia (Fisher); and new interactions between Rey (Ridley) and Kylo Ren (Driver)—both introduced in the last episode, The Force Awakens—set up so that we know they will meet again.

   The Last Jedi opens with an attack on the Jedi resistance forces, which now consist of only 400 fighters on three ships.  The story will shift back and forth between attacks from the Jedi’s arch enemy, the First Order, commanded by General Hux (Gleason) and their own attacks, commanded by General Leia Organa, upon the First Order.  General Hux must answer to the supreme leader, Snoke (Serkis), who initially denigrates him for his failure to stop the destruction of some major artillery.

   Meanwhile, Rey, who finally located Luke Skywalker on the planet Ahch-To in the last picture, revisits him with the message that his presence in the battle is critical for the survival of the Jedi.  He has been coming to the philosophical conclusion that the survival of the Jedi is not that important, so her job will involve many hurdles, meditations, and encounters.  Will she convince him to go? 

   There are additional scenarios and encounters to keep the story intriguing, like the relationship between Finn (Boyega), Rey’s missing co-pilot, and Rose (Tran) a mechanic with impressive knowledge and skills; Poe (Isaac) and whoever is in charge of the Jedi at the time; and the triangle of Snoke (Serkis), General Hux, and Kylo Ren. 

     It’s not all drama; there are many scenes that make the audience laugh out loud, like that with Chewbaca and the bird-like creatures, the Porgs; the trip through the casino planet and recruitment of the code-breaker DJ (Del Toro); and Poe’s hacking into the First Order’s communication system.  

    This episode in the Star Wars saga boasts a huge cast of talented, actors already famous for other roles and for previous Star Wars productions:  Mark Hamill (still packing a punch of the rebel Luke Skywalker; Adam Driver (writhing under the struggle within himself about identifying with the dark side); Domhnall Gleeson [reveling in his shaky command of the First Order, which is threatened by Kylo Ren (Driver) and, ultimately by Snoke himself (Serkis)]; Oscar Isaac, the “trigger-happy” Poe trying to influence the Jedi leadership of General Leia and Vice Admiral Holdo (Dern); Benecio Del Toro emerging in the casino to volunteer his hacking skills as DJ; and, finally, the funny, flirting, techno skilled interactions between Finn (Boyega) and Rose (Tran). 

     The star, Daisy Ridley, has held onto her success in capturing the previous role of Luke Skywalker in the Jedi forces as Rey, a fearless, persistent, cheeky young woman who is relentless in pursuing her goals.  This involves her own personal exploration (who she is, where she came from) as well as perfecting the art of The Force. 

     Star Wars fans are likely to be jubilant over this production that seems to have preserved much of the character of the previous films and ventured into new territory, all while keeping the elements of surprise and humor.

Rion Johnson’s production appears to cover all the bases for fans in its preservation of the beloved, surprising twists and turns, and comedic bursts.

Grade:  A                                    By Donna R. Copeland

WAR FOR THE PLANET OF THE APES

Andy Serkis   Woody Harrelson   Steve Zahn   Karin Konoval  

Terry Notary   Amiah Miller   Ty Olsson   Aleks Paunovic   Devyn Dalton

     In the 2014 rendition of the Planet of the Apes series, Caesar as the beloved leader of the ape colony, tries to protect it from the encroachment of humans on their territory.  Because he and some reasonable humans are able to negotiate terms, the humans are allowed to work on a dam that will provide for desperately needed electrical power.  The truce is disrupted by distrustful parties on both sides—Dreyfus, one of the leaders of the military, and Kobo, the ape who retains resentment toward humans for the years he was held as a research subject.  Terrible betrayals and battles ensue, with the result that even though peace was attained, Caesar has been warned that the military is planning another attack on the ape community.

     This rendition is a battle of wills between the Colonel (Harrelson) and Caesar (Serkis).  The army led by the Colonel has attacked the ape colony, leaving devastation in its wake.  Caesar tries repeatedly to negotiate and reason with the Colonel, but the Colonel has gone slightly off his rocker, with a God complex and the firm belief that if he doesn’t wipe out the apes, they will wipe out the human race.  Caesar even tries to communicate with him simply by staring at him (hoping to shame him), but to no avail.  The Colonel is impervious.

     Caesar wants to go after the Colonel on his own, advising the colony to stay put, and leaving his young son Cornelius with Lake, but Maurice and a couple others insist they go with him.  Along the way, they come upon a girl and a dying solder who are mute and they have to figure that out, but Maurice is adamant about not leaving the girl behind by herself, so she becomes part of their small band.   This character seems extraneous to me, and I wonder about the purpose of its inclusion.

     What they eventually discover is that most of the ape colony has been captured and enslaved by the Colonel, who has one of the traitorous apes around to manage the enslaved, Rex (Olsson), a Kobo follower.  They hope to get inside and rescue everyone, and once again, Caesar insists on going in alone while the others wait a distance behind.  Unfortunately, Caesar gets captured, and it looks like all hope is lost.  But with a little luck and the reconnaissance of Maurice et al., dramatic things are about to happen.

     Director Matt Reeves and his writing partner Mark Bomback are a winning team in bringing fresh ideas to the franchise to keep it exciting and filled with tension.  They highlight the ethical dilemmas and flaws of leaders who may or may not understand the implications of their actions.  They underscore the importance of strategy in a conflict and the elements that go into eliciting the loyalty of one’s team.  They also seem to be keenly aware of the combination of luck and skill that go into military victories.

     Technological wonders in the series continue with the action capture of Serkis’ Caesar and the visual effects by Weta Digital most striking.  The extended battle scenes do become tedious in places, and I suspect they are primarily to show off the technology. 

     Humor is lavishly inserted in this version by the character “Bad Ape” (Steve Zahn), who is a different species from the apes and one who escaped an American zoo, avoiding Simian flu.  Softness is provided by the lovely mute girl with the luminous eyes and expressive face played by Amiah Miller.  She shows much needed tenderness toward the apes and lends meaningful aid, although I do not think this important enough to have included the character..

Despite this being the third in the reboot series, the filmmakers keep the story of the apes interesting and fresh.

Grade:  B                        By Donna R. Copeland

STAR WARS: THE FORCE AWAKENS

Daisy Ridley   John Boyega   Carrie Fisher   Harrison Ford   Oscar Isaac   Adam Driver   Domhnall Gleeson   Simon Pegg   Lupita Nyong’o   Andy Serkis   Max von Sydow

          The Force comes on strong in this seventh episode of Star Wars directed by J. J. Abrams.  Expectations are high among hard-core fans, and they’re not likely to be disappointed.  Harrison Ford and Carrie Fisher reprise their roles (with Leia now a general), grieving for their son who may have gone to the Dark Side.    Also reappearing are Chewbacca (Peter Mayhew), and, briefly, R2-D2 and C-3PO.  The special effects are just as spectacular as always, and although bits of story are inserted here and there, the battle scenes constitute most of the picture. 

          New characters include Rey (Ridley) and Finn (Boyega) who meet for the first time when he rescues her from a dire situation.  She is a scavenger with powers she is unaware of so far and he is a former First Order Stormtrooper who abandons his post out of conscience; he regards the First Order (Dark Side) as immoral.  Another new character is Poe (Isaac) who works for the resistance and has been trusted with part of the map that will lead to the missing Luke Skywalker.  Captain Phasma (Christie) is a female on the dark side.  This version of Star Wars has tried to incorporate more strong female roles, e.g., Rey and Phasma, and these two show their strengths appealingly.  Dombnall Gleeson as General Hux (for the dark side) is appropriately unlikeable and efficient. Andy Serkis as the Supreme Leader Snoke is appropriately terrifying and ominous.  A refreshing new robot, BB-8, originally sketched out by Abrams, is a light-humored, tender addition to the cast.

      The spirit and excitement hearkening back to the previous Star Wars has been preserved by Abrams with his writer Lawrence Kasden and composer John Williams; and just enough new material and characters have been added to sustain interest in the series.  So it appeals to both ends of the spectrum, nostalgia for the past and suspense for what will come next in the continuing saga.  This is the first of a concluding trilogy. 

          The intriguing ending is enough to keep viewers engaged for the next episode.

         Disney Pictures, which bought LucasFilms, has achieved production values equal to the original series.  The technical and visual effects are as breathtaking as we would expect in terms of production and art design, set, and costumes. 

Rely on The Force.

Grade:  A                                                By Donna R. Copeland