TOM CLANCY'S WITHOUT REMORSE

 Michael B. Jordan     Jodie Turner-Smith     Jamie Bell     Guy Pearce

            John Kelly is an elite Navy Seal whose home is invaded one evening, and although the intruders were not able to kill him, they did kill his wife.  Wounded, John manages to kill most of them in retaliation, but one gets away.  He realizes this is related to a top-secret operation in Aleppo, Syria he was participated in.  He is tried and put in prison for his crime.  He senses the attack on him is part of some government’s plot, but he isn’t sure what it is.  It was Russians who attacked his home.

            John is considered to be a risk both in terms of someone killing him, and in terms of his determination to seek out and kill the one remaining intruder.  While he is in prison, the CIA (which still has its suspicions about him) recruits him for a secret mission in which Americans would be sent to Russia to capture a Russian agent suspected of working against the U.S. for years and bring him to justice.  He may be the one who got away from John’s house, which makes him determined to go on the mission.

            The trip is a dangerous one, and sure enough, there are many treacherous encounters that ensue even after they manage to get to Russia. 

            Without Remorse provides the origin story for Tom Clancy’s John Clark, a character in his Jack Ryan series.  It helps if one is familiar with the background, but the script is so well written by Taylor Sheridan (Hell or High Water, Wind River, Sicario) and Will Staples, it’s exciting on its own, with a mixture of daring and persistence on the part of Kelly, government politics and intrigue, and realistic characters showing their hopes and anxieties.

            Michael B. Jordan has a fine record of performances (television’s “The Wire” and “Friday Night Lights”, and movies Fruitvale Station, Black Panther), which have prepared him well for this role of an astute, skillful Navy Seal with a conscience and a compelling force that makes him soldier on against all odds.  

            The softer but highly competent role of Jodie Turner-Smith provides good balance to the masculine forces all around her.  Jamie Bell serves well as one to be suspicious of, but always equipped with an intelligent plan.  Guy Pearce seems to be able to merge into any character that comes his way; he has a record of a multiplicity of all different kinds of roles, and I always enjoy seeing him in all of them.  His role here is a bit mysterious, which is just as it should be.

            The film doesn’t really stand apart from other good films in the genre but will entertain the viewer interested in the genre.   

 

Tom Clancy fans will be treated to fine writing and acting in this thriller mixing intrigue with physical combat.

 

Grade:  B                              By Donna R. Copeland

CREED II

Michael B. Jordan     Sylvester Stallone     Tessa Thompson     Florian Munteanu     

Dolph Lundgren     Wood Harris     Phylicia Rashad

     Pride goeth before a fall, but that doesn’t mean you can’t pick yourself up and fight even harder, which is just what Adonis/Creed (Jordan) does in taking up the gauntlet to avenge his father’s death at the hands of Ivan Drago a Russian heavyweight.  Creed feels pressure within himself to take on the son of Drago, Viktor (Lundgren) and defend his world championship title.  His longtime trainer and the one who had defeated Ivan Drago 30+ years before, Rocky Balboa (Stallone), sees Ivan’s physical advantage, and presses Creed to search within himself for the reason he wants to take on the challenge.  Rocky is not up to training him (he is still battling leukemia), so leaves that in the hands of Little Duke (Wood Harris).  

     In addition, there are other important things going on in Adonis’ life, and these, along with his own personal challenges, enrich and complicate his life. He’s involved romantically with the lovely singer Bianca (Thompson), who is a huge support to him, but also has aspirations for her own career.  She would like to move from Philadelphia to California for that reason, and points out that Adonis’ widowed mother Mary Anne (Rashad) lives there. The introduction of real-world considerations marks a plus for Creed II; it’s not just about heavyweight fighting, but reflects as well the kinds of considerations and dilemmas contemporary families have to face in deciding such things as where to live and whose career takes precedence at what time.  

     Over and over, screenwriters Sylvester Stallone and Juel Taylor, have the characters wrestle with parenting, family issues, and emotional attachments.  These scenes are not simply “tacked on”, but are well integrated into the primary action of the story.  (And are definitely a saving grace for this reviewer who has an aversion to boxing because of potentially life-changing injuries.) Relationships between Creed and Bianca, Rocky, and his mother; between Viktor and his father Ivan; and in the ring between Creed and Viktor Drago are rich with emotional valence.  And the bitterness Adonis experiences during one period is palpable.

     Michael B. Jordan has proven his skill in Fruitvale Station, Creed (2015), and Black Panther, and lives up to that reputation in this film.  Sylvester Stallone comes across as an anchor, not only for his parts in the Rocky and Creed films, but as one for Adonis in this film, Creed II.   I get the impression he has provided much of the heart that is a part of the series.

     One aspect of the film that detracts from its freshness is the predictability of the storyline.  Almost from start to finish, the viewer can guess what’s ahead.  If that doesn’t bother you, and if you like to see physical struggles against extreme adversity, this might be the movie for you.

This film is for devotees of the Rocky and Creed series of heavyweight championship films.  

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

FANTASTIC FOUR

--> Miles Teller     Kate Mara     Michael B. Jordan     Jamie Bell     Tony Kebbell

-->          Fantastic Four in this case could be a reference to the utterly fantastic script that edges into being four times the ridiculous.   It starts out promising when a grade school kid reports in school that his career choice is to create a method of teleportation to another dimension.  Unfortunately, he has a bad teacher who won’t accept his dream and makes him do the assignment over.  But the plucky kid is not discouraged; on the contrary, he continues to build his invention in his garage with the help of his classmate whose parents have a salvage yard.

           In high school, Reed (Teller) and his friend Ben (Bell) present their invention at a science fair, and even though their demonstration of it ruins a light board and causes the lights to go out, they get a curious visitor, Dr. Franklin Storm (Reg E. Cathey), accompanied by his scientist daughter Sue (Mara).  Storm offers him a scholarship and a chance to collaborate with him and Sue in bringing his dream to fruition at his private company.  Sue has already been working on a similar project.

           They make progress after Dr. Storm brings in a cynical scientist, Victor (Kebbell), who had become disillusioned with corporate management and was working alone until Storm brings him back into the fold.  He also forces his errant son Johnny (Jordan) to work on the project; and although Johnny is resentful, he takes to Reed, and diligently works alongside him.  The operation is a success when they send a chimp out and successfully bring him back.

           Enter one of the corporate suits who is now interested only because he sees something in it for him, and immediately sees that bringing in NASA and the government will make him look really really good.  This makes the idealistic young scientists who are thoroughly committed to their work antsy, and they decide to take a flight on their own so it’s their names written in lights.  Reed wants his old friend Ben to be a part of the rewards, so calls him up and insists he come with them.

           The four take off, unbeknownst to anyone else, even Sue or her father.  The men are supposed to spend only a few minutes away, plant a flag and come back.  However, once they get there, their curiosity gets the best of them and they go exploring, three of them barely making it back.  Open Pandora’s box and…Yes, the three, along with Sue who discovered their venture and was helping to bring them back, return, but radically changed. 

           This is where I think the story derails.  When they arrive back they have special powers, but are in the hands of the U.S. government, which is using them for its own purposes, namely war.  They’re kept separated from one another, so can’t work together to disengage themselves and regain control of their lives.  If you see the film, you’ll know if and how they work that out.

           I was on board for the first half of the film, which is interesting in considering what going to another dimension might be.  Although I’m not totally in sympathy with the corporate world or government, I did not appreciate how they’re portrayed here as completely uncaring, self-serving, warmongers who would not even respond to the explorers’ questions about what happened to their teammates.  This is unnecessary and irresponsible on the filmmakers’ part in my opinion.

           There are also some plot holes or gaps that don’t make sense; for instance, the one who was left behind does eventually get a chance to come back, but he immediately wants to return to the other dimension.  So why does he express relief that he is rescued and then immediately want to return?  He gives an explanation, but that doesn’t answer the question of why he returned in the first place if he was happier elsewhere.

           I also have the perennial problem in action movies that they must always contain two features:  car races/crashes and fistfights.  No matter how many advanced scientific tools they have at their disposal, we must always have one of each of these, and usually many more.

          The four main actors, Teller, Mara, Jordan, and Bell, are top-notch, and it’s too bad the script, direction, and production let them down.  I did appreciate their value in loyalty and collaboration and their commitment to science for its intrinsic value.

An adventure that comes up low on fuel.

Grade:  C-                        By Donna R. Copeland