TOMB RAIDER

Alicia Vikander     Dominic West     Walton Goggins     Daniel Yu     Kristin Scott Thomas     Derek Jacobi

     This Tomb Raider movie is based on a videogame series, which it tries to emulate and serve as a kind of prequel to the 2001/2003 Tomb Raider series starring Angelina Jolie.  Here, we get a few scenes of Lara’s (Vikander) childhood with her father (West), in which he is teaching her things about life she should know and saying goodbye as he takes off on an adventure.  Years go by; it appears he is not returning, and Lara has become a risk-taking bicycle courier and aspiring boxer (which she is not very good at).

     Multiple times when she is asked to sign documents related to her father’s company, she shows little interest, but when shown a puzzle cylinder left to her by her father, she is fascinated.  She easily solves the puzzle and finds a message from him.  That sets her off on a daring journey (she is her father’s child) that will take her to faraway exotic locations in an attempt to continue her father’s life-long odyssey.

     The film does have the look of a video game made into a movie.  The production design is artistic and somewhat enticing; however, the story comes across as completely improbable with a rather clunky script so that it keeps the viewer from becoming fully engaged.  Seeing Lara getting tossed about on raging seas, beaten and battered by evil men, and surviving a tomb that is disintegrating around her on a video game is very different from seeing such events in a movie.  After a while, the reaction is “Oh, c’mon!”

     Alicia Vikander is a gifted actress, but her fine, nuanced, dramatic talents are lost in this action movie that is all about brawn and physical feats (most of which turn out to be unbelievable, really).  I don’t know how many of the stunts were done by her or someone else (if by her, they’re impressive!), but look at her work in Ex Machina, The Danish Girl, Anna Karenina, A Royal Affair, and The Light between Oceans, for instance, if you want to see award-worthy acting.  Other actors like Dominic West, Walton Goggins, and Daniel Yu likewise have diminishing roles that don’t serve their talents.  The only supporting actor given a juicy tidbit is Kristin Scott Thomas, who plays it up admirably.  She is always good, and the script serves her well here.

     This is a film for video game fans, but for the rest of us—no.

Do you really want to see another Tomb Raider movie?

Grade:  C-                                     By Donna R. Copeland

GRINGO

Joel Edgerton     Charlize Theron     David Oyelowo     Thandie Newton     Amanda Seyfried     Sharlto Copley

     Ugly Americans and Mexican cartels go head to head in this crime story that also wants to be a comedy.  Richard Rusk (Edgerton) and Elaine Markinson (Theron) co-lead a company that is not averse to doing extra-curricular deals.  They have a product being sold in Mexico for them, but when it looks like U.S. states are going to legalize marijuana, they want to market Cannabax (ha-ha--Get it?) in the U.S. and hugely increase their profits.  That will leave no product for the Mexican trade.  Their middle manager Harold (Oyelowo) has been working with the Mexicans for a long time, establishing confidence and gaining their trust, but suddenly Richard and Elaine want to accompany him on the trip to explain to the Mexicans why they are going to stop selling to them.  Harold is left out of all these plans—and many others as the plot proceeds, all while Richard keeps calling him his best friend and making promises of untold wealth.  Call him a dupe.  Go ahead.

     The plot by writers Anthony Tambakis and Matthew Stone gets heavily convoluted by incorporating multiple betrayals, Mexican cartels, an amateur American trying to smuggle dope into the US from Mexico (no connection to the other operation), and the DEA into the story.  Oh, yes, and at one point, Richard’s brother Mitch (Copley), is called upon to abandon his altruistic activities in Haiti to help his brother reclaim the kidnapped Harold.  (This is not the only kidnapping that will take place.)

     The movie, directed by Nash Edgerton (Joel’s brother), attempts to be slick, funny, and entertaining.  And I think it does achieve the latter, but I was not impressed with the intricacies of plans and subterfuges; and the “funny” is successful in drawing chuckles at times, but it borders on stereotypical portrayal of blacks.  This is Oyelowo really trying to show his comedic chops, and he is funny until you stop and think…

     The acting is top-notch by Edgerton, Theron, and Oyelowo, with Edgerton being the profligate with a swagger, Theron with a cold, hard perspective using her sexuality and attractiveness to get what she wants, and Oyelowo with high ideals passed down from his father trying to be noble.  The supporting cast is noteworthy, particularly Amanda Seyfried (Les Miserables) and Sharlto Copley (Chappie), who are two of the only genuine figures in this production. 

     It’s puzzling why the amateurish drama of a reluctant, naïve drug carrier (Harry Treadaway) and his girlfriend (Seyfried) were included in the mix.  Their paths cross with Harold’s in a sometimes touching way, but they don’t really fit into this story.

For a lightly entertaining romp, Gringo might be your movie choice—just don’t plan to take it too seriously.

Grade:  C                                    By Donna R. Copeland

THOROUGHBREDS

Anya Taylor-Joy     Olivia Cooke     Anton Yelchin     Paul Sparks     Francie Swift

     I wouldn’t call the movie “thoroughbred”, but it is entertaining, and a good show for young writer/director Cory Finley.  It will be criticized for being slow, but I thought that pace worked well for contemplating the two teen misfits, Lily (Taylor-Joy) and Amanda (Cooke), and building up the suspense.  Amanda is particularly well drawn as a psychopath-in-the-making, denying she ever has feelings, yet being expert in the perception of others’. 

     Finley is clever in the way he introduces the two main characters, illustrating their upper class upbringing, one presented as prim and proper and the other as a much more interesting character who surprises with every response.  We are given a heavy-handed tour multiple times of Lily’s house, a richly furnished mansion, to show her upper-class status as well as draw us into the allure of a proposition the two girls make to the local drug dealer, Tim (engagingly played by the late Anton Yelchin in his last filmed movie).  This tour and other scenes are enhanced in the talented hands of cinematographer Lyle Vincent (A Girl Walks Home Alone at Night).

     In the beginning, Lily is presented as a good student who has been engaged to tutor Amanda, although this is made ambiguous as to whether there are tutoring sessions or just “hanging out.”  The girls are antagonistic to one another, but something in the other also attracts them.  (We find out later how this is not a good thing.)  Lily appears to be prim and inhibited, and Amanda draws her out by surmising her underlying negative feelings, making Lily uncomfortable, yet realizing that Amanda is astute.  Apparently, Amanda is onto something in Lily’s relationship with her stepfather Mark (Sparks). 

     The girls do develop a bond, and engage Tim in a devious plan.  After rather abusive negotiations and a tempting offer, Tim agrees to help them.  Thereafter, nothing much occurs as expected, at least by the girls.  Finley as the writer develops a clever way for all of this to play out, but can be faulted for throwing in a red herring.  Although he does an excellent job in showing how two people can egg one another on, the twist at the end does not ring true/plausible. 

     The acting jobs of Taylor-Joy and especially Cooke are spot-on.  Seldom is an actor asked to be so deadpan for her character as Cooke is, yet she pulls it off with eloquent charm.  Much of the change in Taylor-Joy’s character is shown on the actress’ face and in her eyes.  We see it, but don’t want to believe in what we see.  Paul Sparks is a talented actor, and shows the stepfather to be an a-hole, but he’s more rude than evil.  I think the script should have called for him to more than just rude.  As the film stands, it implies that the girls are “born evil”, instead of responding to their upbringing.

A crime story with a bent different from most.

Grade:  C                                    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

RED SPARROW

Jennifer Lawrence     Joel Edgerton     Matthias Schoenaerts     Charlotte Rampling

Mary-Louise Parker     Jeremy Irons

      A spy story can be a perfect thriller, especially when double-dealing is a part of it.  Red Sparrow refers to a Russian intelligence operation that trained young recruits how to extract information from targets by engaging them, giving them what they want, and gradually building trust. 

     The problem here is that young Dominika (Lawrence) a Bolshoi ballet dancer, has her career abruptly curtailed when her leg is injured permanently.  Dominika is desperate now, because the Boishoi pays for her rent and her mother’s medical care.  Forthwith, her Uncle Vanya (Schoenaerts) offers her a role in the Russian state security, where he has a high position.  “There are no accidents”, he declares ominously, making you wonder how Dominika’s leg injury came about.  He is frank about the kind of commitment it will take on her part, and reminds her that she doesn’t really have other prospects for taking care of herself and her mother.

     Vanya initially gives her a cryptic assignment, where she does very well; however, there is another agenda of which she is unaware.  She is very successful until…  Now, she has witnessed something that makes her dangerous, which gives Vanya additional leverage, which he uses by having her enroll in a special training program on the psychological manipulation of others.  Here, she is advised on principles such as to “forget sentimental morality”, given instruction about guns and shooting, and picking locks.  “Innure yourself to what you find repellant.”  “Learn to love on command.” Basically, the ends justify whatever means they need to use. 

     This is a time when the Cold War between the U.S. and Russia is still continuing.  On the American side, one of its CIA agents makes an error in judgment, and is sent home from Moscow.  Nash (Edgerton) is a dedicated operative who has spent years cultivating a source.  His burning desire to get back in the field is to hold onto this source, who won’t talk to anyone else. 

     One of the delightful intrigues in this film is to see how each side has more than an inkling as to what the other side is doing.  This means, of course, that Dominika and Nash will cross paths.  But I won’t give any spoilers as to how and how many times this comes about, but it is one of the most entertaining aspects of the film.

     Francis Lawrence has directed the Red Sparrow in an optimal way for this type of film, in which the viewer is challenged to figure out what is going on at every step, even to the ending of the story.  I think the standout actor is Schoenaerts, who has an uncanny resemblance to Vladimir Putin, which is enhanced by the actor’s skill in portraying Putin’s mannerisms and persuasive ways of reasoning.  He can be truly intimidating and terrifying.  Jennifer Lawrence and Joel Edgerton are skilled actors who always bring their characters to life, but in this instance, charisma between the two was slightly amiss.  Of course, Charlotte Rampling as the “Matron” is intimidating and precise in her dispassionate “teach by the book” approach to training in unorthodox(?) techniques.  Additional supporting actors who enhance the quality of the film include Jeremy Irons and Ciarán Hinds as Russian security agents, Joely Richardson as Dominika’s mother, and Mary-Louise Parker as an informer.

     This is a spy story that will not disappoint.  I have an objection to the level of violence and torture portrayed (from which everyone seems to recover miraculously), and wish that filmmakers would see that it is not really necessary.

A spy’s creed:  “Everyone is a puzzle of need.  Give him what he wants, and he will be yours.”

Grade:  B+                                    By Donna R. Copeland

THE PARTY

Timothy Spall     Kristin Scott Thomas     Patricia Clarkson     Bruno Ganz    

Cherry Jones     Emily Mortimer     Cillian Murphy

     This is a British comedy, probably not to American tastes, that presents as a staged theatre production in black and white film.  It starts as a drama among a group of intelligent academic types, and quickly transforms into a satirical comedy.  Janet (Thomas) is celebrating a political victory with a party in her home with close friends after she wins the position of shadow health minister.  With the support of her friends, she has aspirations eventually for party leadership and even prime minister.  Her husband Bill (Spall), a professor, seems a bit out of it, sitting in his rocking chair and drinking wine, until their friends April (Clarkson) and Gottfried (Ganz) arrive and he spends most of the rest of the time talking and drinking with Gottfried.  April is rather cynical, and satisfyingly reports that she and Gottfried are separated.  Gottfried is a “healer” of some kind who always takes an optimistic view of whatever is confronting him; hence his and April’s conflicts.  She constantly puts him down, but he never seems to notice.

     Janet is in the kitchen preparing canapes, while periodically taking calls from an apparent lover, when financier Tom (Murphy) arrives, looking very agitated, disappearing into the bathroom repeatedly, and conflicted about a gun he is carrying/hiding.  The other two guests at the party are Lesbians, Martha (Jones) and Jinny (Mortimer), who announce they are having triplets.  Jinny is the pregnant one, and she also has to disappear into the bathroom now and then, where she runs into Tom.

     The “fun” comes when crises erupt and secrets emerge, which seem to be related to all their relationships.  It turns out that the group is enmeshed with a colorful history that is impinging on their current lives.  As the secrets unfold, we see the reactions of each, and in the process are greatly entertained by their all-too-human reactions and solutions. 

     The Party does not contain profound observations, but it has sharp-witted conversation and striking characters played by top-tier actors.

Sit and enjoy the banter and barbs of long-time friends gathering for a celebration, which gets completely lost in the revelations of so many secrets.

Grade:  B                                    By Donna R. Copeland

DEATH WISH

Bruce Willis     Vincent D’Onofrio     Elisabeth Shue     Camila Morrone     Dean Norris     Kimberly Elise

     This is a film that will definitely appeal to gun enthusiasts.  It not only glorifies guns, but it drums in the message throughout about how important they are for protection.  Why, a gun can shoot an intruder in seconds, while it takes police minutes to reach you, exclaims the young, attractive gun dealer at the Jolly Roger.  The film opens up with numerous announcements of all the murders in Chicago, saying to the audience, “Be afraid.” 

     Then we get a picture of a golden family:  Father (Willis) a surgeon, mother (devoted and earning a Ph.D.), daughter (Morrone) just accepted by her first-choice university, and loyal uncle (D’Onofrio) who is needy, but clearly loves his brother and his family.  Heinous things then happen to the wife and daughter, leaving the father, Paul, in despair.  He is a successful surgeon used to solving medical problems, and when he learns from Detective Raines (Norris) how slowly his investigations are proceeding and how few murders are actually solved, this, coupled with his guilt about not protecting his family, spurs him into action.

     Paul begins to educate himself about guns and practices shooting.  But he also has time on his hands and starts wandering the streets and riding buses, hoping he will run into a white van with three men inside (his only clue about the intruders).  He doesn’t see that, but he does see crimes being committed and feels behooved to intervene, which he does in a car jacking and when a young boy is shot in the leg by the “Ice Cream Man.”

     His interventions earn him a reputation, which, with his determination in finding the perpetrators in his own case, serves to encourage him in vigilantism.  Now, keep in mind, this is Bruce Willis the actor; he will be imminently successful, will be a perfect shot, and will have the best and biggest guns at his disposal.  What follows is entertaining if you like that kind of story and if you can ignore all the blood and torture that follows. 

     It’s hard to see what the purpose is in movies like Death Wish, which glorify guns and vigilante heroism, beyond that of supporting the National Rifle Association (NRA), which probably helped finance this film.  While the deaths that Paul wreaks seem justified in the heat and emotion of the moment, it sets a bad precedent for execution without the benefit of trial by jury. 

     Films such as this are troubling to me, especially when I hear audience reactions (like chuckles and laughs) that clearly indicate so many do not comprehend the enormity of the gun issue.  This is not “light entertainment”, nor should it be.  The only redeemable aspect of this film is that the acting is very good. 

This is a bad model for anyone to follow, even if you think you can be as successful a vigilante as a Bruce Willis character.

Grade:  D                                    By Donna R. Copeland