MEN IN BLACK: INTERNATIONAL

Tessa Thompson    Christopher Hemsworth     Kumail Nanjiani     Liam Neeson

Emma Thompson     Rafe Spall     Rebecca Ferguson

     

     This is Men in Black:  International; so it will take place in Brooklyn, Paris, London, Marrakesh, and “Riza’s fortified fortress of sheer death”—wherever that is.  Following the High T’s (Neeson) maxim:  “Always remember:  The universe has a way of leading you to where you’re supposed to be, at the moment you’re supposed to be there”, Agents H (Hemsworth) and M (Thompson) will travel the world to uncover the Hive enemy or (God forbid!) a mole within their own organization.

     Molly has been interested in coming to know “the truth of the universe” since she was a child and visited by an alien.  She protected said alien from the authorities looking for him, and upon fleeing he made a promise to her in his own language, although she didn’t understand what he said.  Subsequently, she always took note when strange happenings occurred, and when she was grown up, she began looking seriously for ‘them’ (Men in Black). She actually does find them, much to the chagrin of Agent O (Thompson), who reluctantly gives in to her pleas and assigns her the name of ‘M’, sending her on assignment under the supervision of Agent H to find and destroy the enemy.

     Although Agent H has an excellent reputation and is tapped to take the High T’s place when he retires, at this time, he appears to be “vaguely inept, arrogant, and reckless”—in the words of M after she has come to know him.  But he is experienced.  She, on the other hand, seems gifted with both a sixth sense and logical reasoning in solving problems.  These two:  What a combination for a team, but there’s an underlying “like” for each other that keeps them working together.

     The main plot for this film is weak; that is, we don’t get much invested in the intrigues and struggles of the Men in Black until, maybe, the very end when the mole is revealed.  But there are some creative insertions along the way that help keep us engaged.  One is a tiny being who has lost his queen and becomes attached to M.  She names him Pawny (voice of Nanjiani), and he becomes her protector, as well as the arbiter in M’s conflicts with H.  He is also the resident comedian.  Another is M’s unexpectedly encountering the alien she protected years before.

     I think this film is a victim, like so many remakes and sequels these days, of a “been there; done that” reaction.  It appears that business aims are taking precedence over creativity in films like this.  They’re reasonably well done in terms of craft, but the mark of “retread” is unmistakable.  In this instance, there is not much that is new and creative to make us go, “Wow!”

Think of this film as simply another retread in the genre of “action, adventure, comedy.” 

Grade:  C                                    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

SORRY TO BOTHER YOU

Lakeith Stanfield     Tessa Thompson     Armie Hammer     Terry Crews     

Danny Glover     Steven Yeun     Jermaine Fowler     Omari Harwick

     “Sorry to bother you” starts out with a telemarketer’s spiel to customers. Cassius Green (Stanfield) has to learn to stay on script and adopt a “white voice” so he will be successful and be promoted to “Power Caller.”  Cassius is starting out at the bottom, living in his uncle’s garage with his artist girlfriend Detroit (Thompson), where he is behind on his rent and driving a beat-up car given to him by the same uncle.  He has to make it at this job, not only to survive but just as much to preserve what little self esteem he has left.

     He is naïve, and you wonder how he is going to make it at all, but he gets advice and encouragement from fellow workers like Langston (Glover) who clues him into adopting a white voice, Squeeze (Yeun) who is organizing a union, his friend Salvador (Fowler), and others.  Indeed, he does well and is promoted with much fanfare.  

     But there’s a mysterious air around the Power Caller work site situated beyond double gold elevator doors, and things get increasingly bizarre, starting off with the strange woman orienting him (note that she has to punch in about 50 numbers to get the elevator to rise—an example of the many clever little comedic frills inserted by writer-director Boots Riley).  Suddenly, Cassius has a new elegant apartment and car, and he gets completely preoccupied with his job, which is making increasing demands upon him.

     This is where the movie turns really bizarre and presses on into the macabre. The head of the company, Steve Lift (Hammer), takes notice of Cassius, and invites him to his office with an offer almost impossible to refuse.  He simply has to commit for a certain period of time and agree to participate in the Worry Free company’s treatments and he will get a ginormous salary.  Worry Free has devised a way to make employees much more productive and submissive.  (The company won’t have to worry any more about the labor protests wreaking havoc in the city of Oakland at this moment.)  What helps Cassius make up his mind is what he encounters when he enters the wrong door to the men’s restroom. What he finds there is a preview of the ultimate outcome of Worry Free’s venture.

     I found the story rather ho-hum in the beginning, as I could envision what Cassius was getting himself into, recognizing a kind of hope that is more than likely to turn into disillusionment.  The reason it is so easy to spot is the apt metaphors Boots Riley uses to depict the seduction of capitalistic companies that have little regard for humankind and quality of life.  I think about all those who have bought into corporate enticements only to discover there is a price they hadn’t expected.  (I got a special kick out of Lift’s promise that the “treatment” results in a huge organ--guess which one).  Riley creates a concrete example of the transformation that corporate ascenders experience as they rise up the ladder.  Of course, there is a message here that only some of us will appreciate.

     Sorry to Bother You gives us a picture of the enticements of a kind of capitalism that is oblivious to human needs but is extremely seductive for the few who can actually reap huge benefits from it. It serves as a counterpart to Jordan Peele’s Get Out, in its references to genetic experimentation with individuals in the service of ulterior, selfish, and misguided interests.

Rescuing hope that’s on the road to disillusionment.

Grade:  B+                                    By Donna R. Copeland

ANNIHILATION

Natalie Portman     Oscar Isaac     Jennifer Jason Leigh     Gina Rodriguez     Tessa Thompson

     Think about mixing the surreal and mysterious with real human drama within a glorious visual spectacle, and you can envision Annihilation.  Alex Garland has drawn on his previous experience with Ex Machina and plunged ahead with another futuristic presentation of humans confronting what may or may not be an alarming future.  He has the ability to balance the fantastic with the real so that one can buy into his dramas.  They seem otherworldly, yet something we can imagine really happening.  Part of the success of his work is in giving clues from the beginning that will inform the viewer later in trying to explain what transpires later.

     We’re first confronted with a puzzling interrogation of biologist Lena (Portman) by a military person in a hazmat suit (Benedict Wong).  He’s asking her who-what-when kinds of questions, the answer to which she says, “I don’t know” or “I can’t remember.”  She appears to be a little dense, but this is one of the nicely misleading cues that Garland does so well.  He does let us know she is a respected biologist at John Hopkins University.

     We soon see Lena’s missing husband Kane (Isaac) who appears suddenly after such a long absence she thinks he has died.  Although we learn that he has been involved in a covert operation, he doesn’t have many answers and seems very different from his old self.  But then abruptly he shows signs of a medical condition, which involves calling emergency services.

    More drama ensues, after which we see Lena volunteering to explore a new phenomenon that has occurred on earth called “the shimmer.”  Her team is led by psychologist Dr. Ventress (Leigh), and includes three other female scientists.  They will follow in the steps of other military people who have explored the region, but never came back, except for one.  This is a group of very brave women (nice to see!) who have no ties at home (“We’re all damaged goods here”), and for various reasons want to find a scientific explanation for The Shimmer, which “swallowed up” the military’s Southern Reach. 

     This is where the real adventure begins, with the expected strains on loyalty and mental balance, in confronting threats never before imagined.  It was especially gratifying to see a female character (Lena) having such deep curiosity, determination, and clear-headedness that she is able to confront whatever is before her, without becoming unhinged or allowing images from the past to distract her.

     Finally, the electrically charged ending leaves the viewer with possibilities rather than a neat package. 

This is a film not to miss for its thrills, human drama, and eloquently presented futuristic possibilities.

Grade:  A                                    By Donna R. Copeland

THOR: RAGNAROK

Chris Hemsworth     Tom Hiddleston     Cate Blanchett     Mark Ruffalo     Tessa Thompson

Anthony Hopkins     Benedict Cumberbatch     Idris Elba     Jeff Goldblum     Karl Urban

     Thor has seen rocky times in two previous versions (Thor, 2011; Thor:  The Dark World, 2013), but in the hands of the gifted director Taika Waititi, Thor:  Ragnarok is deemed much more successful.  Additional factors contributing to quality are the writers (Eric Pearson, Craig Kyle, Christopher Yost, and original Marvel comics); the diverse, finely talented cast; the imaginative cinematography by Javier Aguirresarobe; and the special and visual effects. 

One of the distinctions of this action film is the inclusion of emotional elements (sibling rivalry, family issues, friendship, loyalties, humor) and depth of story, along with the stronger roles given to women, more so than almost any other action film, except for Wonder Woman.  Cate Blanchett as Hela and Tessa Thompson as a Valkyrie have special powers and hold their own in physical combat with the men. 

    In searching for the Infinity Stones, a holdover from the Avengers franchise, Thor (Hemsworth) is captured by the fiery demon Surtur (voice of Clancy Brown) who prophesies the end of Asgard (Odin’s realm) in an apocalypse called Ragnarok.  Thor is not about to let that happen, and escapes the demon, thinking he has prevented Ragnarok from happening.  But his father Odin (Hopkins) is missing, so he enlists the help of Dr. Strange (Cumberbatch) in locating him, which he does with a number of flashy demonstrations.  Thor talks to his father, and learns that his sister Hela (Blanchett), who has been in prison, will be released, will be claiming the crown, and will implement Ragnarock as the Goddess of Death.  It turns out that she has higher ambitions than her father, with wishes to control the whole world.  Thor decides to take her on, and goes to Asgard.

     But the black-clad Hela with a gorgeous body and an antler headdress is formidable, and not only does Thor lose his hammer, he is banished to the world of Sakaar, ruled by the weird Grand Master (Jeff Goldblum).  He finds his brother Loki (Hiddleston) already there, and sees that he has gained the confidence of the Grand Master.  The brothers are as competitive as always, and Thor winds up being made a gladiator scheduled to fight the current champion—none other than The Hulk (Ruffalo).  Thor is delighted to see him, but soon discovers that Bruce Banner is no longer present, and The Hulk fully intends to destroy him.  Eventually, Thor, Loki, the Valkyrie, and The Hulk wriggle out of the confines of Sakaar, and rally the support and arms they will need to thwart Hela’s ambitions.

     Back on Asgard, the people are unhappy with Hela’s merciless rule and destructiveness, and under the leadership of Heimdall (Elba), attempting to avoid Hela’s soldiers and escape to a safer place.  Thor and his team of “Revengers” will be fighting the battle of their lives when they arrive.

     Balancing out the action scenes are many allusions to a wry kind of humor.  Calling their team the “Revengers” is one; the Grand Master insisting on calling Thor the “Lord” of Thunder, rather than a god, rankling Thor, is another; and key people refusing to join the Revengers because they “don’t want to get into a family squabble” still another example.  Many of these jokes were sprinkled throughout the action sequences late in production, increasing the run time twenty minutes, but Waititi considers it well worth it.  I would agree.

Thor:  Ragnarok easily entertains with adventure, challenges, family fights, and humor. 

Grade:  A                                    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