MOONFALL

Halle Berry     Patrick Wilson     John Bradley     Michael Pena

Donald Sutherland     Charlie Plummer 

            This movie is a disaster—but not in the way the filmmakers intended.  It’s the disaster.  The thinly drawn characters, the inane/stereotypical dialog and awkward dreamed-up situations make it hard to sit through.  Special effects are about the only aspect of Moonfall that have a chance to entertain.

            The story starts in such a hodge-podge, it’s difficult to discern the plot and sort out the characters.  People and technical information are thrown out rapid-fire in the first few minutes so that it takes some time to get oriented.  Finally, we begin to see that something major is happening with the moon that if not stopped will endanger the earth.  Institutions such as NASA and the military are portrayed as run by self-serving fools.  For instance, there is the military solution considered of nuking the moon, with no regard to fall-out danger to the earth.

            The main characters include Brian Harper (Wilson), a disgraced astronaut who is blamed for his friend-colleague’s death, his ex-wife Jo (Berry) who is now married to a general in the military and who is made the leader of NASA where she is employed by the current chief as he is running out the door, and hapless janitor KC Houseman (Bradley) impersonating a scientist-astronaut and claiming to understand a complexity in the universe that has stumped the real scientists.  In the movie, he is proven to be right.  The upshot is that these three are going to revisit the moon, discover what is wrong and make things all right on earth.

            In the process of the tale, discounted characters turn out to be heroes, government departments and authorities are portrayed as incompetent fools, and somehow miraculous things just happen in order to carry the story along or save the characters.  Tender parent-child scenes are thrown in liberally sometimes during the height of emergencies, and conflicts get resolved somehow, even between ex-spouses.

            Most of these shortcomings can be attributed to the director Roland Emmereich, whose past films have many of the same elements (e.g., Stargate, The Day after Tomorrow, The Patriot, and Independence Day) discussed above and for which he has been criticized.  What Roger Ebert said about Stargate could be said about Moonfall: “Stargate” is the kind of movie where a soldier can be transported to “the other side of the known universe” in a whirlpool of bizarre special effects, step into a temple on an alien planet, and say, “What a rush!”  https://www.rogerebert.com/reviews/stargate-1994.

            Cinematography (Robby Baumgartner) and special/visual effects are about the only aspects of Moonfall worth your time.  Not only are they entertaining, but the viewer can appreciate them as works of art and technology.  The scenes in space are breath-taking and convincingly take you to another world.

 

The telling of the story is hard to bear, but cinematography and special effects might be worth your time.

 

Grade:  D                              By Donna R. Copeland

ANT-MAN AND THE WASP

Paul Rudd     Evangeline Lilly     Michael Pena     Walton Goggins     Bobby Cannavale    Michael Douglas

Judy Greer     Michelle Pfeiffer    Laurence Fishburne     Randall Park     Hannah John-Kamen     Abby Ryder Fortson

     Paul Rudd is one of my favorite actors, so I was already inclined to like this Marvel Comics film, and I wasn’t disappointed—especially when he as Scott Lang is playing a fantasy game at home with his daughter Cassie (Fortson). (He is on home arrest following his mistakes in Captain Marvel: Civil War). Right off the bat, though, we get a little surprise, which sets up the rest of the story nicely.  Overall, it’s appealing in its parent-child exchanges, its pairing up emotional connections with scientific inquiry, its attention to the needs of different characters, its portrayal of characters who change across time and bridge the gap between them and their competitors, and its insertion of humor that fits in seamlessly with the action (a somewhat rare feature in action films).  The humor stems from the well-developed characters and their predictable tendencies, rather than being tacked on by a jokemeister.

     The film follows up on its two previous stories about Ant-Man, Ant-Man(2015) and Captain Marvel:  Civil War(2016). In his plea deal with the FBI, Scott has agreed to be on house arrest with an ankle bracelet and have no contact with Dr. Hank Pym (Douglas), the designer of suits that can shrink/grow a person to tiny or huge personifications, or to Hank’s daughter, Hope (Lilly), who as Wasp collaborated in the previous adventures.  Dr. Pym and Hope have suffered similar consequences.  They only agree to collaborate with Hank at this point because he may have something essential they are seeking.

     The intrigue in this story involves this skittish relationship between Scott and the Pyms; Scott and the FBI monitors led by Jimmy Woo (Park)—although, sadly, the FBI does not come off looking very good in this story; the bad guys who want to steal Hank Pym’s technology, led by Sonny Burch (Goggins); and Ava (John-Kamen), a “ghost” character who is also after the technology. Additionally, we see an old rivalry surface between Dr. Pym and his previous colleague, Dr. Bill Foster (Fishburne).  

          Part of the fun is listening to the scientist characters (the Pyms and Foster) reel off technical jargon that we can only imagine their meaning, such as “the quantum realm”, molecular disequilibrium”, and “wasteland beyond the quantum void.”  These are probably defined in the Marvel fiction—and they may be currently accepted terminology—but this reviewer simply enjoyed the hints about their meaning, and Scott’s impatience in trying to understand them: “Do you really just put the word quantum ahead of everything?”

       Outstanding to me in Peyton Reed’s production are the colorful, descriptive sets and special effects, the music (Christophe Beck), and the actors.  Oh, the actors!  Rudd, Douglas, and Fishburne perform at their usual fine level, and it’s refreshing to see less well-known actors deliver.  The Wasp played by Evangeline Lilly (Ant-Manand Hobbitmovies) shows a range of emotions and good chemistry with Rudd. Walton Goggins is appropriately cunning and sly as a thief.  Abby Ryder Fortson is delightful as Scott’s child Cassie.  And stand outs are Hannah John-Kamen (Game of Thrones,Ready Player One) in her mysteriousness and physical abilities and Michael Pena as Scott’s hilarious current business partner and wannabe hero.

This fast-paced entertaining story should keep fans of Marvel superheroes happily engaged.

Grade:  A                                    By Donna R. Copeland

A WRINKLE IN TIME

Storm Reid     Oprah Winfrey     Reese Witherspoon     Mindy Kaling

Chris Pine     Gugu Mbitha-Raw     Zach Galafianakis     Michael Pena     David Oyelowo

     This is a fabulous production through and through.  Based on a novel of the same name by Madeleine L’Engle, it packs an emotional punch in following the arc of transformation in an embittered girl trying to cope with perceived abandonment and possible death of her father.  She has cut herself off from friends, allowed her performance at school to slump, and of course then becomes the butt of cruel barbs from classmates.  Her self-esteem has bottomed out, and it seems as if no one can help her.

     But something miraculous happens that reunites her with her father’s dream and prods her to begin a painful, terrifying journey of self-discovery and acceptance.  This is where film comes into its own in telling a wondrous story, and the filmmakers responsible for cinematography, art and production design and visual and special effects create the magic for us to go on that journey with her.  It will be beautiful, but terrifying and emotional and exciting as well, as we travel through warped space and time.  An end goal of a search to find someone actually becomes a rescue mission (of more than one person).

     Three supernatural beings make their appearance in Meg’s (Reid) life in the forms of the three Mrs.:  Mrs. Whatsit (Witherspoon), Mrs. Who (Kaling), and Mrs. Which (Winfrey).  They are other-worldly, but present themselves as “warriors who serve the good and right in the universe.”  Whatsit is more human-like in her playfulness and in making errors in communication, and she represents the annoyance of Meg’s mother, her school principal, and friends who get exasperated with Meg.  Who talks in quotes from famous writers to get her points across, and represents intellectual curiosity and and warmth—which is a nice combination.  Which is a guiding force that seems best equipped to get through Meg’s defenses and guide her to a more realistic picture of herself, emphasizing the fundamental importance of faith in oneself and allies sticking together.

     The fantasy has a way of reminding us of current events with some of its principles, such as fear leads to rage, which leads to violence, which leads to darkness.  It has a message about the value of individuals’ being a source of light in dark times.

     The positive messages in A Wrinkle in Time make it more than just a thrill and fantasy; it has substance as well with respect to truthfulness (including to oneself), frankness (expressing thoughts/feeling that need to come out), and self-acceptance (including owning and accepting our faults.  We get to see all the main characters profit from their experiences and introspection. 

      Ava DuVernay can be so proud of her accomplishments in film; it’s mind-blowing to think about how she has ranged from Selma to A Wrinkle in Time, two vastly different genres and movie making.  The three “Mrs.’s” are entertaining and extremely helpful to Meg in their insight and encouragement.  Meg has two other fine supports on the journey; her brother (Deric McCabe) and friend Calvin (Levi Miller).  Her parents (Pine and Mbitha-Raw), both scientists, come across as realistic and loving but with flaws.  Their mixed-race family is inspiring in its inclusiveness; although I have to admit that I was a bit turned off by the “preciousness” of the opening scenes showing the family as more idealistic than real.

     A Wrinkle in Time has some very frightening scenes, so a caution to parents with sensitive children.  They will want to make sure to wait until their child is older, but above all be prepared to discuss the movie afterwards with their children, regardless.  As an adult, those scenes were thrilling to me, and add much to the quality of the film, so I’m glad they were left in. 

A marvelous fantasy based on a beloved book with outstanding visual and special effects and powerful messages for all kinds of children.

Grade:  A                                                By Donna R. Copeland

12 STRONG

Chris Hemsworth     Michael Shannon     William Fichtner     Taylor Sheridan     Michael Pena     Navid Negahban

     This film had potential, but the filmmakers chose instead to make it one long, two-hour gun battle nonstop.  We hear a bit about the characters in the beginning, but not really enough to feel invested in them.  We are given a bit of war planning and arguing, then the 12 committed men are sent to Afghanistan as elite special forces with the primary purpose of disempowering Al Qaeda.  They will secure the alliance of a Taliban warlord with grudges against his rivals and a mutual hatred of Al Qaeda, which has just attacked the U.S. on 9/1/1.

     If we could have been given more back story about Captain Mitch Nelson (Hemsworth) who secured undying loyalty from his team including Hal Spencer (Shannon), Sam Diller (Pena), and others, their confidence in him and his leadership would have been more gratifying.     This is even more salient for the character General Dostum (Negahban), the Taliban leader with whom Captain Nelson has an ambivalent relationship.  What a rich and illuminating history he must have.  Having some light shed on the political and historical background of these relationships would elevate the story beyond constant war skirmishes. 

I’m reminded of the jokes about American westerns’ “white” hats and “black” hats that helped us identify the warring parties.  We have no such clues in 12 Strong, where it’s often difficult to tell which fighters are American and which are which Taliban.  Some of them are robed, and we know they are Afghans, but which are General Dostum’s and which are enemies is difficult to see.  My hunch is that those who are familiar with videogames—which are fast-moving—will have an easier time than I had.

    Production designer Christopher Glass and the visual effects artists have created impressive sets and special effects.  It is thrilling to see the American bombs hitting their targets and rockets flying through the air.  These filmmakers did their jobs well; I put most of the responsibility for neglecting character development in favor of never-ending battle scenes at the feet of the director, Nicolai Fuglsig.  I believe this is his first foray into directing a feature film, and hopefully, next time he will attend more to emotional and character development to give depth to his films.

     Chris Hemsworth is effective in depicting a dedicated American war hero who is sharp and cagy in his analyses and attuned to nuances and competing agendas in his dealings with others, whether friend or foe.  We do get a better idea of what kind of person he is.  That is not the case with the characters of fine actors like Michael Shannon, Michael Pena, Taylor Sheridan, and Navid Negahban.  They were wasted in this movie, considering their intrinsic worth.

     This is a story that needs to be told, but with many more details about the circumstances and the people involved.

Knights on (not white) horses win the day (not the war) in Afghanistan post 9/11.

Grade:  D+                                    By Donna R. Copeland

MY LITTLE PONY

Voices of:  Tara Strong   Emily Blunt   Kristin Chenoweth   Liev Shreiber  

Michael Pena   Taye Diggs   Zoe Saldana   Sia   Uzo Adaba

     This frothy confection using a kaleidoscope of pastels is made for little girls who cherish dolls, animals, sugar and spice and everything nice.  Fortunately, it also conveys messages about friendship (“Friendship is magic”), teamwork, loyalty, creativity, forgiveness, and a sense of responsibility for those in one’s charge.  It has bold adventure, excitement, and near-escapes to balance out the sweetness and light. 

     It begins with all-too-true (for females) dithering by the main character Twilight (Strong), the friendship princess, about whether she will be good enough to lead the Festival of Friendship and convince her fellow princesses to exert their magic on the elements to create a successful party.  They look like they might come around, but suddenly the Storm King (Shreiber) and his commander Tempest (Blunt) burst in with the intent of stealing the magic of Ponyville where the princesses and their people reside.

     Twilight steps up to the plate, vowing it will never happen, and recruits her friends to look for support from Queen Novo of the Hippogriffs (Adaba).  Along the way, they will encounter a smooth-talking cat, Capper (Diggs), Captain Celaeno (Saldana) and her pack of erstwhile pirates forced to abandon their adventures and serve the Storm King, and finally, Queen Novo’s lonely, brave daughter Princess Skystar (Chenoweth).  They narrowly escape being sold and must continue to flee, with Tempest and the Storm King in hot pursuit. 

     My Little Pony was originally a television series, “My Little Pony:  Friendship is Magic.”  The 2017 film, directed by Jayson Thiessen, with screenplay co-written by Meghan McCarthy, Joe Ballarni, Rita Hsiao, Michael Vogel, and Lauren Faust, is based on an original story by Bonnie Zacherle.  Its appeal is almost guaranteed for young girls, and may still be favorably received by older people who can appreciate its solid messages.  The coloring and animations are first-rate, and the music and songs by Daniel Ingram, Sia, the Lukas Graham Band, DNCE, and CL are lyrical and moving.

     I appreciated this film for its appeal to girls, with its messages about basic values of confidence, fortitude, adventure, and comedy that will stand them in good stead, whatever age they live in.

Young girls can dream of greater and greater accomplishments.

Grade:  B                                    By Donna R. Copeland

COLLATERAL BEAUTY

Will Smith   Edward Norton   Kate Winslet   Michael Peña  

Helen Mirren   Keira Knightley   Jacob Latimore   Naomie Harris   Ann Dowd

          Whimsical movies with heart and soul make for fine holiday fare, and Collateral Beauty fits the bill, if the viewer doesn’t mind some attention given to death.  Collateral Beauty is more than whimsical; it illustrates how devastating the loss of a child can be for a parent.  Director David Frankel’s film, like Hope Springs, Marley and Me, and The Devil Wears Prada before it, makes insightful observations about the human condition in some of its variants (including issues of the three other main characters), mixed with good doses of plain humor, black humor, and pure fancy.  I found this movie hilarious at times, extremely moving to the point of tears at other times, and simply delightful, ultimately.  

         The problem at hand is that the head honcho of a business is going through an extended bereavement reaction (he stops coming to work at all), threatening the livelihood of his partner and business associates and employees.  Howard (Smith) has lost his daughter, so Whit (Norton) his partner, and colleagues Claire (Winslet) and Simon (Peña) try everything they can think of to help him function again, but nothing seems to work.  In desperation, Whit has a brilliant idea involving a private detective (Dowd) and three actors.  The actors will represent love, time, and death, the abstractions Howard has literally been writing letters to and dropping in the mailbox.

        Something like angels—but not quite—death (Mirren), love (Knightley), and time (Latimore) visit Howard at unexpected times, producing the letters he has written to them in which he claims that all have betrayed him.  The actors function something like therapists, addressing his comments like (to death) “You’re dead tissue that won’t decompose.”  And Howard reacts belligerently to all of them.  But he also lurks outside a bereavement group room, peering in the window and then walking away.   

          It’s clear that writer Allan Loeb and director David Frankel want us to think about life, time, and death in a different way; they can be serious and weighty, but just as well fanciful, truthful, and truly funny.  These are non-respecters of person; as the film points out, Whit, Claire, and Simon all have challenges, just like Howard does.            A strong cast, along with the script and direction, make this movie sing, boosted by the music of Theodore Shapiro.  A bonus is the trope of progressively falling dominoes signifying the vast reach of human connectedness.

         Collateral Beauty reminds me of Lars and the Real Girl in their sometimes serious, sometimes humorous depiction of human neuroses and the protagonists’ overcoming them with the support, understanding, and patience of family and friends.  The former is a little more absurd and artificial, especially the twist at the very end.

Not your typical Christmas tale, but warmly human and amusing.

Grade:  B                                By Donna R. Copeland

WAR ON EVERYONE

Alexander Skarsgard     Michael Pena     Theo James     Tessa Thompson     

Stephanie Sigman     Caleb Landry Jones     Malcolm Barrett

      The talented British (Irish descent) brothers, John Michael (Calvary, The Guard) and Martin (Seven Psychopaths, In Bruges) McDonagh, write and direct edgy films that grab you emotionally, and simultaneously make social statements about the world we live in.  In War on Everyone John Michael presents a film shot in New Mexico about two rogue policemen who skirt the law and feel free to render justice as they see fit. 

      Bob Bolano (Pena) is the more levelheaded one who feels responsibility toward the more impulsive Terry (Skarsgard).  They share such a brotherly connection that Bob’s kids call Terry “Uncle Terry”.  By having these two officers take matters into their own hands at the risk of their careers, McDonagh will appeal to the sympathies of some viewers, those who have little investment in adherence to U. S. law and the Constitution, and perhaps as a reaction to recent reports of police misbehavior.

       In this light, Bob and Terry have no compunction about demanding a percentage of the profit from criminals, and when Terry’s current love (Thompson) asks how he can afford such a nice house, he shrugs her off.  Both men regard possessions as disposable (when his son’s Xbox is thrown down and broken, Bob will simply demand another from one of his arrests), yet unlike religious figures who shun possessions on moral grounds, Bob and Terry seek the American dream of entitlement and ownership.  Pena and Skarsgard seem perfect for these roles, and make a good comedy team in their bumbling and Pena’s attempts to quote maxims and philosophies.

       This film has major violence, which should be taken as symbolic more than as a recipe to follow.  When Bob and Terry take on wealthy James Mangan (Theo James), they encounter someone who has fewer scruples than they do, but they are determined to bring him down on their own, even though they’ve been suspended from the police force for their behavior.

     Although John Michael McDonagh’s previous films have been some of my favorites, I don’t particularly care for this type of film in which policemen have no regard for their responsibility, and compete with criminals for the loot.  Perhaps I have taken it too seriously.

     The music of Lorne Balfe, with the insertion of Glen Campbell ballads at pointed or random times lightens the experience of the film and made me smile.  Bob Bukowski’s cinematography is another characteristic that heightens the value of War on Everyone. 

A surreal buddy-cop spoof on law enforcement in the U.S.

Grade:  C+                                    By Donna R. Copeland