THE GRAY MAN

 Ryan Gosling     Chris Evans     Ana de Armas     Rege-Jean Page     Billy Bob Thornton

 

           How to get the attending audience not to see your movie.  Make scenes so dark viewers can’t tell what’s going on or who the characters are, especially in the fight scenes.  Make it so loud that dialog can’t be heard above the din of sound effects.  Include characters that are so sadistic it’s unbearable to watch (e.g., pulling out fingernails one by one) and forces you to look away.  Write the plot so it contains implausible situations, such as the wounded continuing to fight long after they would most likely have succumbed, have a character with a heart condition be terrified time and again without having a heart attack.  And finally, mixing up the time frames by going backward and forward.

            The CIA must be grumbling about how it’s portrayed in The Gray Man (largely written, directed, and produced by Russo brothers Anthony and Joe), showing two leaders in the upper echelons of the CIA who are completely illegal and immoral.  Movies are notorious among professionals for portraying their disciplines unrealistically, and (at least I hope) this is another instance.  Of course, we know of real situations where the CIA used bad judgment, but I hate to see even those instances glorified in media.

            The star of this production is one of my favorites, Ryan Gosling, as an unfairly discredited agent being recruited to perform special jobs that are top-secret by their nature of bordering on the illegal.  Six, as he is called, does not even have a file.  Gosling is up to his usual fine performance of being extraordinarily gifted/trained in combat, and still gentle with a heart of gold.  Chris Evans is good as well as a fiendish, sadistic evil man, and it’s hard for me to believe that “Captain America” would take on such a role, but he is believably bad here.  Ana de Armas likewise plays a strong role demonstrating her fighting skills against much stronger men.  She is certainly convincing as a very bold driver.

            On the whole, the cast and its skills are the best feature of this production that looks and feels like a video game, more intent on the craft of special effects than the art of story and character.  The Russo brothers have become famous perhaps primarily for their success in the Marvel world of film, which I have enjoyed from time to time.  Here, I think they go over the top in so many ways, with no recognizable artistry.  The craft as they see it takes over the film.  The erratic editing simply provides more evidence of the film’s lack.

            

I can’t think of any reason anyone would want to see this film.

 

Grade:  D                              By Donna R. Copeland

KNIVES OUT

Ana de Armas     Jamie Lee Curtis     Toni Collette     Chris Evans     Don Johnson    Katherine Langford

Daniel Craig     Michael Shannon     LaKeith Stanfield     Jayden Martell    Christopher Plummer     Frank Oz

     This elegant pastiche fulfills its intention of laying out an ingenious plot with all the usual motifs of detective stories, tossing in blocks of humor and human foibles to keep you thoroughly entertained.  Writer/director/producer Rion Johnson (known for awarded works like Star Wars VIII:  the Last Jedi, Looper, and Brick) outdoes himself here, not only in his own efforts, but in assembling a formidable cast as well, most notable being Daniel Craig as private detective Benoit Blanc with a Texas twang.

     The set-up is Marta Cabrera (Armas) working as a nurse for aging Harlan Thrombey (Plummer) a wealthy book publisher.  Thrombey has numerous family members he is supporting, some of whom live in his mansion.  Tragically, one night after his 80-something birthday celebration, he is dead the next morning, apparently from a suicide.

     Enter Lieutenant Ellliott (Stanfield) and his trooper, along with a mysterious figure who sits to the side, Benoit Blanc.  As they question family members (paying homage to all the detective stories you’ve ever seen), we become acquainted with the motley group. Eldest daughter Linda (Curtis) is married to Richard Drysdale (Johnson) and they have a son Jacob (Martell). Son Walt (Shannon) thinks he is next in line to manage his father’s company, and is given something else to manage in the meantime.  Then there is the youngest son Ransom (Evans) who has a reputation for not working and hasn’t even appeared for the funeral.  Finally, there is daughter-in-law Joni (Collette), who is still part of the family in widowhood, and her daughter Meg (Langford), who is attending college, paid for by Harlan.  All of these actors shine in portraying their eccentric characters.

     Marta, the nurse who will be at the center of the drama, has a mother and sister from another country (humorously, family members always forget exactly which country), and much is made of their origins, and these facts are even used in threatening ways at times.         The crux of the story involves medications Marta administers to Harlan, his penchant for developing published fictions, and a major investigation, with everyone suspect.  Armas is a delight in her wide-eyed innocence and showing in her face her struggles to be a good person in a context of potential exploitation.

     Knives Out is likely to appeal to everyone who likes a good detective story.  This one delivers while still spoofing all those that have come before.  

Knives Out is a smart, entertaining look at deviousness, innocence, and human nature that can go either way.

Grade:  A                                    By Donna R. Copeland

AVENGERS: ENDGAME

Robert Downey, Jr.    Chris Evans    Chris Hemsworth    Paul Rudd    Jeremy Renner

Scarlett Johansson     Mark Ruffalo     Brie Larson   Bradley Cooper    Tilda Swinton    

Don Cheadle     Karen Gillan     Zoe Saldana     Tilda Swinton     Gyneth Paltrow

Chadwick Boseman     Danai Gurira     Letitia Wright     Elizabeth Olsen

     Endgame is quite the finale to Marvel Comics’ Avengers series.  The creators (Anthony and Joe Russo, directors) manage to reprise almost all the roles in previous films, and there are reunions as touching and significant as the beginning of this last season of HBO’s “Game of Thrones.” The film starts with an eerie reminder of Thanos’ (Brolin) intentions in Infinity Wars (to destroy half the people on earth to deal with over-population) by showing Hawkeye (Renner) training a young woman in shooting arrows while his wife calls on family members for a picnic lunch.  Suddenly, everyone but Hawkeye disappears.

     Five years later, some of the Avengers are congregating to come up with a solution. But part of the problem is that some have become content; for instance, Tony Stark (Downey) is basking in family life with Pepper Potts (Paltrow) and their young daughter Morgan.  When some of the others—specifically Banner/Hulk (Ruffalo)—think they have the solution:  A time machine that will take them back to the time before Thanos stole the stones, retrieve them, and use them to get back the people destroyed and create a different world.

     They have a difficult time rousing Stark/Iron Man from his contentment and risk losing those he holds most dear; but, of course, the whiff of a challenge and an adventure reels him in.  From then on, a full contingent of the Avengers [Iron Man, Hulk, Captain America (Evans), Thor (Hemsworth), Black Widow (Johansson), Ant-Man (Rudd), and Hawkeye] test and use their knowledge of time travel to reverse Thanos’ delusional plan.  

     They are indeed able to travel back in time, but it won’t be as simple as they expect. There will be many reunions, but the Avengers will encounter some of the same challenges they thought were over. The special effects for time travel will be a highlight of this story.  The viewer experiences just exactly what we imagine it would be like if we were so privileged.  

     Then, when you get to what looks like the last big battle (and it goes go on and on), don’t settle back in your chair or get ready to leave; much more is coming to create a satisfying conclusion in terms of closure—not necessarily satisfaction with what does occur.

     As with most Marvel Comics movies, this one is overly long, bloated by the obligatory fight scene toward the end, and of course a fistfight scene is required as always.  But in its favor, the story is exciting and suspenseful; the special effects outstanding; and the humor almost always really  funny.  Also, women have stronger roles than in the past.

Endgame is a worthy conclusion to the Avengers series.

Grade:  B                                    By Donna R. Copeland

AVENGERS: INFINITY WAR

Josh Brolin   Tom Holland   Chris Pratt   Chris Evans   Chris Hemsworth   Robert Downey, Jr.   Zoe Saldana

Tom Hiddleston   Benedict Cumberbatch   Chadwick Boseman   Letitia Wright   Danai Gurira

Mark Ruffalo   Peter Dinklage   Bradley Cooper   Vin Diesel   Don Cheadle

     Marvel Comics has gone all out in seeing to it that this rendition of the Avengers franchise thrills, chills, and awes. Surprising plot turns and awesome special effects while keeping the well-known players’ characters doing their thing, are sure to seize audience attention and keep it spellbound. It’s always best to be familiar with the comic book stories, but for those who have only a foggy notion about them and haven’t kept up, there is still much to entertain.

     The essential conflict in this story is Thanos’ (Brolin) attempt to collect all the Infinity Stones so he can rule the world.  He has an agenda; and it’s another case of someone thinking they know what’s best for all mankind.  Thanos has decided that there are too many people in the world relative to the number of resources, so his simple solution is to destroy half of them. That way, the world’s limited resources won’t be depleted.  Keep in mind that he is utterly convinced that this is the only solution.

     It’s rather fun to see all the Marvel superheroes uniting together in their commitment to save the universe from a seemingly invincible monster.  And Brolin plays Thanos with just the right mix of power-hungry deluded, admiration of strength and bravery, and slight vulnerability to love and affection.  He is an ideologue who has supreme confidence in his belief of what is good for all mankind.  One of the creative twists of the writers (Christopher Markus and Stephen McFeely), is in showing his deep emotional attachment to Gamora (Saldana), his adoptive daughter, whom he rescued from poverty when he was destroying her world. His love for her and subsequent disillusionment is one of the few emotional pulls in the film, which is mainly concerned with the battles among super-heroes. 

     Disillusionment is shown once again when Thanos’ forces are attacking Wakanda, the pristine realm of Black Panther (Boseman).  At one point, the Panthers’ warrior in command, Okoye (Gurira),  states, “When we opened up Wakanda, this is not what I imagined”, to which Panther asks, “What did you imagine?”  Her reply: “The Olympics, maybe a Starbucks…” illustrating the movie’s subtle references to practical and more lofty ideals.

     This is a film for action movie aficionados, and it delivers all to be expected in that sense.  The story, special effects, and cinematography meet these expectations.  But for those who prefer a more subtle, nuanced plot and refreshing character development, it will come up short.  

Action?  Adventure?  Exciting fantasy? You got it with this film. There are other choices if action and extended battle scenes are not for you.

Grade:  B                                                 By Donna R. Copeland

GIFTED

Chris Evans   Grace McKenna   Lindsay Duncan   Jenny Slate   Octavia Spencer

     Gifted is a film for the masses in that it has charm in the form of a super-smart, sassy child; a sincere guardian who is doing his best, although he’s a bit myopic; a soulful neighbor; a sincere, sharp schoolteacher; a villain in the form of an ambitious mother/grandmother; and a plot with suspense.  It could be—and is—dismissed as a bunch of froth, but it does bring up important issues about the needs of truly gifted children and how the courts handle child custody cases.

     We first get a picture of the child in a normal school (preferred by the uncle/guardian of the child in trying to respect his deceased sister, the child’s mother, who was a genius with resentment toward their mother).  It’s clear that Frank (Evans) is trying to guide his niece Mary (McKenna) in social skills, but she is only six years old and still has a way to go.  She has been home schooled previously, but is now in first grade in a public school.  After a bit of cheekiness on Mary’s part, her teacher (Slate) is confounded at first, then realizes that she has a super smart child on her hands.  She immediately talks to the principal, and of course, they recommend a school for the gifted and talented—with a scholarship.  But Frank knows from experience what his sister went through with an over-involved mother and is adamant that Mary have a normal childhood and friends.

     When the grandmother (Duncan) appears on the scene, all her frustrations about her gifted daughter surface, and she is determined to take over and see that her granddaughter achieves what her daughter gave up on.  She haughtily dismisses her son and his living conditions and sues to get custody of the child.  She doesn’t succeed, and a compromise is made, but that’s not the end of the story.

     Writer Tom Flynn and Director Marc Webb do a reasonably good job in illustrating the challenges of bringing up children with extraordinary intelligence.  There is a lot to be said for presenting them with experiences that will be challenging; at the same time, giving them the opportunity to have a childhood, relate to normal people, and deal with everyday problems is just as crucial.  We see a bit of both approaches in the film, which is not terribly exciting, but it’s realistic, and I think it’s helpful for the general audience to see both sides of the issue.

     Part of the suspense of the film is to hear the arguments in court and wonder how custody will be resolved.  Of course, it’s not too hard to predict, but just how it happens is interesting.  Loose ends are left hanging, such as what happens to two particular people who were essential players in the drama.

     Chris Evans steps out of his Captain America role to become a rather ordinary Joe, but one with a past worth noting.  Lindsay Duncan brings all her British Thespian skills to bear in playing the aristocratic grandmother, confident of her considerable resources.  Grace McKenna is delightful as the pugnacious Mary, and Jenny Slate as her devoted teacher are both entertaining.  Their interactions with Frank give the film its soul.  It’s more than refreshing to see a person of color playing an essential role in normalizing Mary’s life, and Octavia Spencer is just the ticket.  Her character gives Frank the common sense he needs for grounding.

     Gifted could have probed into the child and family issues with more depth, but for its intended audience (mainstream America), I would guess that it will serve as thoughtful, meaningful entertainment. Although they may not have dealt with a gifted child, they are likely to have experienced child custody issues.  The filmmakers definitely should have omitted the romantic interludes, which are not only unnecessary, but in poor taste.

A challenging case of a gifted child caught up in a myriad of family history and dynamics.

Grade:  C+                                    By Donna R. Copeland 

CAPTAIN AMERICA: CIVIL WAR

Chris Evans   Robert Downey, Jr.   Scarlett Johansson   Sebastian Stan   Anthony Mackie   Don Cheadle   Jeremy Renner   

Chadwick Boseman  Paul Bettany   Elizabeth Olsen   Paul Rudd   Tom Holland   Daniel Bruhl   William Hurt   Emily VanCamp

          Keep your eye firmly on the screen because this Captain America travels at lightning speed across the continents, through the story line and the 90+ characters, over 20 of which are central to the action. Despite this complexity, more than in many action films, screenwriters Christopher Markus and Stephen McFeely present a coherent plot, fairly easy to follow for non-diehard Marvel Comics fans.  Industrial Light & Magic’s visual effects are stunning.

      It seems that after numerous deadly encounters through the years between the superheroes and the bad guys, much collateral damage has been incurred, making citizens fearful and governments thinking the Avengers need to be reined in.  It’s proposed that a United Nations panel be appointed to supervise them and set limits on what they will be allowed to do.  Tony Stark, aka Ironman (Downey), specifically is confronted by the mother of a promising son who was involved in charity work when he was killed in Sokovia, incidental to the Avengers’ defeat of the super villain Ultron.  The nation of Sokovia was decimated in that battle.

          Out of some guilt and reasoning, Stark is in favor of going along with the UN proposal called the “Sokovia Accords” when Secretary of State Ross (Hurt) presents it to him.  Tony brings it up to a few other super heroes for consideration, including Captain America (Evans), Black Widow (Johansson), the Falcon (Mackie), and Scarlet Witch (Olsen).  Vision (Bettany) and the War Machine (Cheadle) are already on board with the Secretary.  The film laudably presents logical arguments for and against the proposal, which have to do with individual freedom versus community interest and true heroism versus vigilantism.  Those on Tony’s side—Black Widow, War Machine, and Vision—regard community concerns as paramount; whereas those taking the other side—Captain America, Scarlet Witch, and Falcon—trust their own moral judgments over a committee’s and foresee that their individual assessments in emergency situations will be more effective than judgments by a committee.  This mistrust on the Cap’s part continues the theme from the 2014 Captain America film; namely his experience of being betrayed by authorities.

          So the lines are drawn between Stark and Captain America representing both sides of the argument, both of whom bring in recruits:  Spiderman (Holland) by Stark and Hawkeye (Renner) and Ant-Man (Rudd) by Captain America.  Fierce battles will be waged until an evil plot of divide-and-conquer is uncovered.  The Winter Soldier (Stan), Black Panther (Boseman) and Zemo (Bruhl) will play pivotal roles.

         Directors Anthony and Joe Russo (Captain America:  Winter Soldier) with their writers create an adventure-filled fantasy while clearly and intelligently addressing important moral issues related to security, privacy, individualism, and the role of governments in our world.  Grief over major losses and testing friendships add social/emotional components to make the action more meaningful.

      The cast is phenomenal, with most of the experienced, well-known superheroes skillfully reprising their roles.  Tom Holland as Spiderman is a welcome newcomer, acing his role with competency and humor.  Chadwick Boseman as Black Panther with cat claws is likewise effective in his introductory appearance.

A visual effects extravaganza with exciting and still meaningful content.

Grade:  A                                    By Donna R. Copeland

AVENGERS: AGE OF ULTRON

Robert Downey, Jr.   Chris Hemsworth   Mark Ruffalo   Chris Evans   Scarlett Johansson   James Spader (voice)   
 Jeremy Renner   Samuel L. Jackson   Don Cheadle   Aaron Taylor-Johnson   Elizabeth Olsen   Paul Bettany   Andy Serkis

This version of the Avengers features a dizzying number of battles with characters flying at each other through the air at lightning speed.  The story opens with the Avengers in an eastern European country, Sokovia, raiding a Hydra outpost led by evil scientist Strucker who has used Loki’s scepter to create the superhuman Maximoff twins out of humans, one of whom, Pietro (Taylor-Johnson), can run at superhuman speed and the other, Wanda (Olsen), can read and manipulate minds and throw scarlet energy blasts. 

But the Avengers overcome Strucker, and when Stark (Downey) and Banner (Ruffalo) take over his lab, they discover artificial intelligence in the scepter’s gem, which Stark wants to use for his “Ultron” peacekeeping defense program.  Unbeknownst to them and to their chagrin, however, when he appears, Ultron is sentient and hatching a plan to “save” the earth from mankind because they’ve done such a bad job.  While the Avengers are celebrating their victory over Hydra and Strucker, Ultron begins to take action by eliminating Stark’s A.I., J.A.R.V.I.S., and stealing the scepter, which he plans to use to upgrade his body and construct an army of fighter drones.  In addition, he talks the Maximoff twins into joining him in his efforts.  He is persuasive, because he talks only of peace, but fails to mention his grandiose plan of extinguishing humans and populating the earth with metal creations in his own image. 

When this is discovered, another battle ensues, and Wanda is able to make chaos among the Avengers by hypnotizing them into stupors and transmitting hallucinations that relate to their personal underlying fears, resulting in undermining any sense of team spirit they had.  Now they realize they need a break for rest and teambuilding, so they head for Hawkeye’s (Renner) farmhouse to rest up.  But their recuperation is interrupted by the arrival of Nick Fury (Jackson), informing them that Ultron has forced Banner’s scientific colleague Dr. Helen Cho (Claudia Kim), to use her synthetic tissue technology to perfect his body, so they head for South Korea to foil his efforts.

In the process, allegiances shift among different characters, Stark is able to resurrect J.A.R.V.I.S., which Thor activates with lightning, resulting in a new robot called Vision (Bettany).  The ultimate battle ensues in Sokovia, where Ultron has major plans to use the city in his efforts for global extinction of humans.

Director Joss Whedon, who is also one of the writers, is known for inserting emotional elements into his action films to make them more than simply action scenes with special effects.  This is usually successful, but not so much in Avengers:  Age of Ultron.  The side stories of Romanoff and Banner, Hawkeye and Wanda, and War Machine’s repeated corny jokes, for instance, seem patched in rather than seamlessly integrated into the overall story.  He is successful, however, in making the action interesting and exciting, and by now, after so many iterations, most of the characters have depth and distinct personalities.  As an added bonus to me, Whedon is a master at inserting classical music and literature into the sci-fi action genre—e.g., operatic aria playing in a laboratory that is creating A.I.’s.

The film’s impressive cast, music (Danny Elfman and Brian Tyler), cinematography (Ben Davis), and special effects make this a movie well worth seeing for those who are fans of the superhero genre.

Can the Avengers save the planet?

GRADE:  B                      BY DONNA R. COPELAND