ETERNALS

Gemma Chan     Richard Madden     Angelina Jolie     Salma Hayak     Kumail Nanjiani

Lia McHugh     Brian Tyree Henry     Barry Keoghan 

            In the Marvel universe jumping through time and space are de rigeur, as seen in this film, which starts from 5,000 B.C. in Mesopotamia and goes through the centuries to the present, touching on Babylon, Chicago, South Dakota, Tenochtitlan, Mumbai, Australia, the Amazon, Iraq, and spaces in between and up in space.  It will make you dizzy trying to keep track.  Not only that, one must also keep track of tricky names:  Thena (not Athena), Sirsi (not Circe), Ikaris (not Icarus), Phastos (not Hephaetus), all tied to Greek mythology.  They are clever and make you smile.

            Anyway, the story is roughly that a being called Arishem has created not only humans but also Eternals who are intended to survive anything, and… what? Deviants are sent to destroy the Eternals?!  Well, like any god-like figure, Arishem is quixotic—at least seemingly.  Through his own reasoning, he decides to foster the emergence of a Celestial transformation that could dispose of humans in the interest of furthering civilization development.  This sets up a fierce battle among the Eternals—one siding with Arishem and the others wanting to preserve humans and the earth planet.  This constitutes the rest of the story in Eternals.

In wresting with these conflicts, there are some philosophical discussions/arguments about life paradoxes to tease the mind, such as that creation always involves destruction; some have to die in order for other life to be born.  Also to be wrestled with is that even though Heresham created humans, Eternals, Deviants (which he lost control of), in the offing he plans for the emergence of the Celestials.  Life is a cycle of creation and destruction.  But some are questioning Creator Arishem’s requirement that Eternals not interfere in human conflicts because he says that conflicts and war are necessary for the development of the human world.  

The script adapted from Jack Kirby’s original comic books by Chloe Zhao, Patrick Burleigh, Ryan Firpo and Kaz Firpo is reasonably good, but goes on far too long for this type of movie.  It does meander into some of the Eternals’ lives, such as Sersi’s relationship with Ikarus and a human named Dave, Phastos’ complex relationship with Thena and his subsequent attachment to a human who will give him a family, and Druig’s going off on his own to establish a community with the Amazonians—which is always interesting, but none of these pairings are highlighted enough for us to cheer them on.

The crafts in Eternals—cinematography (Ben Davis), music (Ramin Djawadi), special and visual effects, art, and sound—are extraordinary, easily transporting the viewer into the mythological realm.  As Marvel movies go, this one seems to be one of the better ones, having some grounding in literature and wrestling with contemporary issues.  I think the upshot of it all is that any group needs to stick together as one, united against forces against it.  But—there is likely to be a sequel, so we’ll see where it goes from there.

 

Eternals are eternal, except…The twists and turns will keep you engaged, but leave you wanting more.  It’s more the crafts that will amaze you.

 

Grade:  C+                            By Donna R. Copeland

1917

George MacKay    Dean-Charles Chapman     Andrew Scott

Mark Strong     Richard Madden     Colin Firth     Benedict Cumberbatch

     Be prepared to run for all you’re worth with the characters over all kinds of terrain strewn with friendly and enemy soldiers and feel continuing tension for almost the entire film of 1917.  Director and writer (with Krysty Wison-Cairns) Sam Mendes and his cinematographer Roger Deakins made an excellent call in filming the entire adventure in essentially one continuous take.  With the immediacy of the story, it pulls the viewer right into the screen, and you are there.  

     In France in the first World War, two young Lance Corporals, Tom (Chapman) and Will (MacKay) are sent on a mission to Colonel MacKenzie (Cumberbatch) with the urgent message to cancel a military charge where, unbeknownst to MacKenzie, a trap has been set by the Nazis.  Will and Tom will have to cross a no-man’s land of dead bodies and through enemy lines to get by all kinds of dangers along the way, and they have only a few hours to make it.  The charge is given with a special incentive:  Tom’s brother is one of the 1600 men in MacKenzie’s company who will be killed if MacKenzie proceeds with the attack.

     Along with the script and direction, cinematography and music (Thomas Newman) are paired so seamlessly with the story they serve as sensory enhancements, intensifying the whole experience.  There are breathtaking scenes such as one at sunset when a soldier is sneaking through the sculpted forms of the remains of a bombed-out building, which Deakins has constructed to look like a morbidly colorful abstract painting.  The whole scene is heightened by the fear of being shot.  In this case, the music has unworldly sounds that give expression to the tension and fear.  Other times, there are sharp contrasts between the horrors encountered along the way and snow-white cherry blossoms wafting in the breeze or come upon in a host of trees felled by the Germans.  

     Another feat in this film is the production design (Dennis Gassner) and the creation of miles of military encampments, abandoned encampments complete with rats, and a bombed out building where a young woman and an abandoned child are sheltered with one candle burning brightly.  And much later on, we witness a contrast with a camp of British soldiers listening to one of their own singing the popular American folk song, “Wayfaring Stranger.”  

     The paradox of 1917 is in its graphic description of the horrors of war coupled with the visual and lyrical beauty in which the story is presented.  A late bloomer this year, 1917 may be at the top of more than one list in the upcoming award season.

Heroics are paramount in 1917, but the visual and musical enhancements and the brief, tender moments, altogether, earn it a place on the “must see” list.

Grade:  A                                    By Donna R. Copeland

ROCKETMAN

Taron Egerton     Jamie Bell     Richard Madden     Bryce Dallas Howard     Gemma Jones     Tom Bennett

     For such a flashy performer, it’s surprising that Reginald Dwight (aka Elton John) grew up in an emotionally bleak household, with everyone crying out for love and not getting it, which they all sing about).  Well, except for Reggie’s grandmother (Jones), who recognized and accepted who he was and was responsible for helping him get a scholarship to the Royal Academy of Music.  His father refused to hug him—ever—and his mother only expressed mild interest in him.  All this is presented to help us understand the grown-up Elton who at the prime of his fame saw no limits to his flamboyance.

     The structure of the film reflects sensitivity and psychological awareness on the part of the director, Dexter Fletcher, and writer, Lee Hall.  We see Elton first in full regalia entering into a group therapy session in which his stories of his life are seen in flashback, starting with his childhood, his entry into the music world, the acme of his career, then the inevitable slide down as his indulgent lifestyle catches up with him.  Themes reflect those early experiences of shyness, insecurity, loneliness, and the sense that everyone will leave him.  It’s only after heart-breaking experience and therapy that he begins to get insight into his own role in disappointing relationships with others.

     The thrilling scenes in Rocketman show the incredible, rapid rise of this multi-talented star in singing and piano playing, along with his glittering showmanship.  The music and the visual presentation are glorious.  Likely, as a response to the bleakness and need for love, a brilliant imagination took hold and carried Elton soaring into the intoxicating reaches of fame.

     Taron Egerton embodies Elton John ideally, in that we forget we are seeing him rather than Elton.  Taron captures the voice (perhaps not the piano playing, but it’s still convincing) and personality of Elton, in all its resplendence, recklessness, anguish, pouting, and joy. Jamie Bell’s performance as his trusted longtime lyricist, loyal collaborator, and friend works so well as a contrast to the showman, while capturing the genuineness in his feelings toward a superstar.  Other actors deserving mention are Richard Madden as the irrepressible agent resembling Elton’s father in his ultimately unemotional business self, Gemma Jones as the savior-like grammy, Bryce Dallas Howard as the self-preoccupied mother, and Tom Bennett as the step-father who gets on board and manages to contribute in a dysfunctional family.

    Musician Matthew Margeson, cinematographer George Richmond, and costume designer Julian Day and their teams contribute significantly to the artistic presentations that dazzle us and keep us entertained throughout the film.

     I’d like to recognize and applaud Elton John’s willingness to have his life portrayed in all his glory, pathos, and self-centeredness.  Only those who have achieved confidence and satisfaction with themselves could afford such a revealing picture.  It’s eloquently embodied in one of the last scenes of the film, when the adult John is finally able to embrace the child Reggie. Insight and therapy can achieve such wondrous results!

An unusual film about a major rock star who eventually finds redemption from excessiveness.

Grade:  A-                                    By Donna R. Copeland