Wonderstruck(10/29/2017)

 

Warning: Review contains plot spoilers

While I like to stay focused on movies themselves when talking about them, there do occasionally arise certain situations where distractions happen while watching movies that I feel obligated to disclose.  In this case I had the odd experience of showing up to a movie I barely knew anything about to find that it was playing subtitles at the bottom.  These were not subtitles translating a foreign language as the film’s spoken dialogue is in English, rather these were captions intended for the deaf and hard of hearing which transcribed every word of dialogue and also described all the sound effects and music ques.  They were annoying.  Really though my distraction had less to do with the captions themselves so much as my confusion as to why they were there.  Had I accidentally walked into a special screening of this intended for the hard of hearing?  Should I have waited for the next screening?  Why wasn’t I told ahead of time this was a special screening?  Or did the film’s director, Todd Haynes, actually intend for the film to have these caption given that it turned out to be a story about deaf people?  Doing research after the fact I took another look at the theater’s website I discovered that they were in fact turning on these “open captions” for every screening of the film, possibly in response to an online petition that is demanding that theaters do so.  It’s a fact that they apparently saw no need to alert their customers to outside of some fine print next to other “amenities” like reserved seating.  Some simple notice that this was going to happen would have gone a long way toward letting me just relax rather than stewing about this during the first act of the movie.

The film follows two children who live in two different times and places and whose fates seem increasingly intertwined as the film goes on.  The first is a boy living in the Midwest circa 1977 named Ben (Oakes Fegley) whose mother has recently died and has a burning desire to track down his long lost father.  When fate intercedes in the form of having him struck by lightning and left deaf he decides to take matters into his own hands and run away to New York City in order to follow a lead that could help him find his father.  This is intercut with the story of Rose (Millicent Simmonds), a young deaf girl living in New Jersey circa 1927.  This girl has never been taught sign language and her father seems to have very little patience with her.  Eventually this reaches a breaking point and she runs away and boards the ferry to New York City in hopes of finding her favorite silent film star Lillian Mayhew (Julianne Moore).  Both characters paths lead them to the American Museum of Natural History and specifically an exhibit there called a Cabinet of Wonders where a souvenir book called “Wonderstruck” is sold.

Wonderstruck is based on an illustrated juvenile novel of the same title by Brian Selznick, who also wrote the book that Martin Scorsese’s Hugo was based on.  Selznick apparently has some pretty strong interests because there are definitely some commonalities between the two.  Both works seem to have an interest in silent films, both are about children, both have a sort of whimsical magical realism at their center, and both are very interested in fate resolving wrongs and reuniting people.  Let’s start with the silent film thing.  Early on in the 1927 section we see the deaf girl go to the movies and watch a fictional silent film and upon leaving the theater see a sign advertising that the theater is about to install a sound system and begin playing “talkies.”  This may have been the inspiration for the whole captioning thing at my theater and the fact that one more comfort is being taken away from her acts as a reasonable catalyst for her trying to run away.  It also serves a purpose to bring up silent film during this section because the scenes in 1927 take on a lot of the language of silent cinema.  The dialogue and sound effects in these scenes are dropped in the film to mimic the character’s affliction, but the non-diegetic musical score persists.  The sections are also in black and white and many of the actors do take on the somewhat exaggerated pantomime associated with silent cinema.  The scenes are not, however, a complete recreation of 1920s film style along the lines of something like The Artist and certain more modern techniques do persist.  There are no title cards in these scenes and the film maintains its widescreen presentation and continues to use camera-work that is 21st Century in nature.

That silent film style is pretty cool and the movie’s look at late 70s New York in the other sections is also pretty well rendered.  Todd Haynes certainly directs the film well and it’s generally pretty enjoyable to watch in the moment and up until the moment it ended I thought it was a pretty good piece of work.  However, I was not satisfied by the film’s ending and the more I thought about it the more I think the problems that led to be underwhelmed were baked into the film’s entire plot.  Central to the film is some sort of magical force that’s driving its characters to reunite at the end.  The magical force gives Ben the clues he needs, seemingly provides him a guide in New York, and even has him struck by lightning to spark his journey.  The film surrounds this magical force with whimsy and clearly sees it as a benevolent force setting fate into motion, but if you think about it this magic causes way more harm than good.  For one thing, the film couches Ben’s decision to run away from what appears to be a perfectly loving aunt in a whole lot of romanticism and then has seemingly no regard for the panic that Ben’s little runaway adventure is probably causing back home.  That’s perhaps forgivable given the film’s point of view but it becomes more and more clear that this “amazing” revelation the film is leading towards is not worth all the trouble that this divine intervention is causing.

At the film’s end Ben does not get his hearing back and is disfigured seemingly for life and his aunt presumably worried sick, and for what?  For his trouble he learns about a grandmother he was never looking for, gets a friend he probably won’t be spending much time with once he returns home, and I guess he can say he had an adventurous week in New York when he was a kid.  Did he need to be struck deaf by fate in order for any of this to happen?  I don’t see why.  The fact that he didn’t know who his grandmother was in the first place is odd, the film doesn’t give a particularly good explanation why this is meant to be some hidden secret.  What’s more there’s no particular reason why Ben couldn’t have come to this revelation in a less dramatic way.  There’s no real time limit on finding out who his father is and we aren’t given much of a reason why his aunt couldn’t just bring him to New York to find this bookstore instead of having to be sparked into running away to do everything on his own.  A lot of this isn’t readily apparent, firstly because the film’s supposedly happy ending arrives abruptly before Ben returns to his previous life having been permanently disfigured in order to learn some things that won’t really affect him in the grand scheme of things, and secondly because we as the audience get answers to questions that we have and are thus probably more satisfied by everything than the people who actually need to live with the consequences of all this should be.

Having said all that I don’t want to be completely dismissive of Wonderstruck even if I think the story is kind of daft.  The 1927 sections in particular are worth watching even if it sort of peters out towards the end.  The film also employs some interesting techniques involving puppetry and panorama towards its ending to explain a lot of the backstory in a way that doesn’t feel like an exposition dump and almost distracts form the aforementioned story problems.  This is of course nominally a family movie, which perhaps complicates how it’s assessed.  If you weigh it against some of the other movies aimed at that audience it is noticeably more artful than the competition despite its problems and some of its flaws might not be as apparent to younger audiences who might buy into the film’s whimsy rather than see it as a strange crutch.  However, when compared against other Todd Haynes films or against the movies that Todd Haynes films are usually compared against.  There are definitely worse movies to see than Wonderstruck, but I still can’t forgive it for its occasional laziness or for its ultimate pointlessness.

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Wind River(8/12/2017)

Auteur Theory demands that the director be viewed as the main author of a movie, and that usually works, but sometimes a wrench gets thrown in the gears.  This mainly happens in situations where someone else on the crew is clearly calling most of the shots like in the two Star Wars sequels that George Lucas didn’t direct but still obviously had complete creative control over.  Complications also arise in cases where movies are written and directed by different people and writers have such a clear sense of vision within a body of work as to be auteurs unto themselves.  This often isn’t so clear as most Hollywood screenwriters who aren’t also directors tend to work somewhat infrequently; their scripts get sold, they circulate and get re-sold, they sit on the blacklist, they land in development hell, and it could be many years between different produced screenplays.  Sometimes though, screenplays will be produced in quick succession and it starts to be clear just how much influence the writer has over storytelling.  Take the case of Taylor Sheridan, who has had a writing credit on two successful films in a row: the 2015 Denis Villeneuve film Sicario and the 2016 David Mackenzie film Hell or High Water.  There were some pretty clear connections between these films, some for the better some not, despite having different directors.  To illuminate things even further Sheridan has opted to direct his latest screenplay himself, another crime thriller in a desolate area called Wind River.

The title Wind River refers to the Wind River Indian Reservation located in rural Wyoming and the film focuses in on a Fish and Wildlife Service agent named Cory Lambert (Jeremy Renner) who has lived near this reservation most of his life and has earned a solid reputation with the Shoshone and Arapaho people who live there.  One day while tracking some wolves that attacked some livestock he runs across the body of a dead Native American woman named Natalie Hanson (Kelsey Asbille Chow) who appears to have frozen to death after running a long distance barefoot in the snow while trying to escape someone or something.  Upon realizing that she was sexually assaulted before her death the FBI is called and an agent named Jane Banner (Elizabeth Olsen) is flown up from Las Vegas to assess the situation and see if a larger FBI team needs to follow.  It’s determined early on that because this woman’s cause of death was officially going to be exposure rather than homicide on paper the crime likely won’t fall under FBI jurisdiction, so they’re going to have to solve the case rather quickly before Banner is going to have to leave and the over-worked and underfunded tribal police are going to be stuck solving the crime themselves.

The similarities between Wind River and Hell or High Water are pretty clear, or at least you can see why they’d come from the same mind.  Both are crime stories set in impoverished “middle America” type rural places that are populated by hard men with lots of guns.  The earlier film was more of a heist type thing which looked at both the criminals and the people hunting them down while this take more the form of a airport novel kind of murder investigation.  The film’s interest in location is a little different this time around, partly because Taylor Sheridan seems to make himself a bit more at home in this location than David Mackenzie was when he made Hell or High Water.  That film was made by a British director who came to Texas with a foreigner’s eyes and gazed almost fetishisticly at a lot of the surroundings, which is a valid approach but one that is sometimes a distractions.  This film doesn’t do that as much, though I probably can’t easily explain where the difference lies, but it’s noticeable.  Another difference is that unlike Hell or High Water, which was populated almost entirely by Texans this film opts to add in an outsider character in Elizabeth Olsen’s FBI agent who can act as an audience surrogate and have local customs explained to.  Occasionally her fish-out-of-water shtick goes a little too far and she says things that seem a bit too ignorant for a trained FBI agent to be saying, but for the most part her role in the movie works.

While he may not be as experienced of a director as Denis Villeneuve or David Mackenzie, Taylor Sheridan does prove to be plenty skilled behind the camera and manages to film both the landscapes and the “action” scenes very well.  If the film does suffer it’s less from his work behind the camera and more from some of the same problems he’s always had as a screenwriter.  In this case this mostly emerges in the film’s third act.  I don’t want to spoil it too much but I will say that the eventual solution to the murder involves a degree of evil on the part of the parties responsible which is downright stupid and ineffective.  He almost gets away with this through the use of an interesting structural trick and some flashily effective violence, but the film’s coda never really addresses the full extent of the carnage in its finale and Sheridan also once again feels the need to write a revenge scenario into the end of his film which is a bit over the top and not really in keeping with the tone of the rest of the movie.  Sheridan handled that a lot better in Hell or High Water, what he gives us here is closer to one of Sicario’s more questionable moments.

Despite its third act problems I think I do ultimately like Wind River the best out of this little trilogy of Taylor Sheridan works, though granted I’m not quite as big of a fan of the other two as some people are.  Part of that may simply be that Wyoming Indian Reservations strike me as being a fresher setting for a crime film than small town Texas and the cartel run U.S./Mexico border.  The film also seemed to benefit from the fact that it didn’t feel like it was trying so damn hard to be “gritty” and instead seems a bit more honest about the fact that it’s a slightly elevated potboiler.  Those films really really wanted to make sure you knew just how bad things were in their respective settings and it almost felt like you were being lectured to by a sophomore who only just realized they grew up in privilege.  This film isn’t exactly devoid of those moments, but its more resigned about them.  They feel more like they were added to pepper in an interesting backdrop than they were to make sure you knew what the world was like, man.  I’m not exactly sure if that’s simply a sign of his sensibilities as a writer evolving a bit or if it’s his touch as a director making these moments work a bit better, maybe a combination of both.  Either way I think this is a pretty solid thriller, the kind of thing that woks quite well as a middlebrow genre piece while also adding just a little something extra.

War for the Planet of the Apes(7/14/2017)

There’s nothing quite as annoying as being out of touch with the popular consensus about a movie, but only by a little.  When you love a movie everyone loves you get to luxuriate in the world’s excitement, when you hate a movie everyone hates you get to join in on the feeding frenzy, when you love a movie everyone hates you get the privilege of being an iconoclast who sees in something what everyone else doesn’t, and even when you hate a movie everyone else loves you at least get to smugly point out that the emperor has no clothes.  However, it’s a lot less fun to be the guy who’s going “hey, you know that movie everyone’s going crazy for? I also like it a lot but think you guys are maybe going overboard, it’s not that good.”  This is a difficult position to be in because it requires you to engage in nuance when the internet masses would rather revel in hyperbole.  It’s also difficult because you find yourself sounding like you dislike the movie more than you actually do because you focus so much on the negatives in order to justify your position that you don’t bother bringing up the positive elements with which you more or less agree with the consensus.  Ever since it debuted in 2011 the rebooted Planet of the Apes franchise has kind of been putting me in this annoying little boat, and it’s particularly annoying in their case because my slight disconnect with them is less the result of me seeing gaping holes in them and more just a matter of not being quite as impressed by their achievements as some people are.  This will be put to the test once again by the latest film in the series: War for the Planet of the Apes.

Set months, maybe years after the end of Dawn of the Planet of the Apes this new entry begins with Caesar (Andy Serkis) capturing a handful of human soldiers after a skirmish and opting to free them rather than execute the captives, hoping they’ll send a message that the apes are willing to live peacefully if left alone.  Anyone familiar with this series’ take on human nature will not be surprised to learn that this message fell on deaf ears and they are soon attacked once again, this time by a special forces quad being personally led by the commanding officer of this outfit, a guy named Colonel McCullough (Woody Harrelson), and their raid leaves Caesar’s son and wife dead.  Swearing vengeance Caesar decides to seek out McCullough and kill him and orders the rest of his ape brethren to march away in the opposite direction towards a safe spot that they’ve scouted.  As he heads for McCullough Caesar is joined by other close associates who insist on accompanying him including Maurice (Karin Konoval).  Along the way they encounter a chimp who wasn’t part of their tribe (Steve Zahn) and a little human girl named Nova (Amiah Miller) who’s been rendered mute by an evolution of the plague that caused all this trouble in the first place.  These two tag along but it quickly becomes clear that their dealings with McCullough will be more difficult that they initially imagined.

As previously stated, I liked the first two rebooted Apes movies but they never really exuded greatness to me despite having a no shortage of great elements on paper.  I think I more or less feel the same way about this one, and yet I also kind of liked it better than both of its predecessors even though I think it has more glaring flaws than both of them.  I think the main thing that makes it work better for me is that it’s the first of these movies to entirely get rid of human good guys.  Rise and Dawn were both ultimately movies about Caesar and got endless credit for managing to build movies around a non-human character, but let’s not forget that those movies also prominently featured James Franco and Joel Edgerton respectively as humans who would try to form friendships with the apes only to see their work undone by their intolerant human brethren.  There’s almost none of that here.  I suppose Nova it technically a human being who is a “good guy,” but her young age, absence of speech, and lack of apparent loyalty to humanity in many ways makes her an honorary ape more so than a human.  With that exception pretty much the only human character that really has a notable speaking role is the villain played by Woody Harrelson, who chews scenery very effectively as the film’s villain.  To make up for this Caesar has become increasingly verbose to the point where he can pretty much speak clearly and with a full vocabulary and feels more human than ever.

On top of that I feel like the filmmaking on these movies has only gotten better and better.  This third installment is still using the same basic technology that brought the apes to life in the last two movies, and it looked great before make no mistake, but it has only gotten more refined over the years and really looks pretty much seamless at this point.  Beyond that though it seems like director Matt Reeves (who boarded the series with the second installment) has only grown more and more confident behind the camera.  This isn’t exactly the war film that the title would imply insomuch as it doesn’t play out like a military campaign with Braveheart-like battle scenes, but there is an oppressive and martial atmosphere throughout which plays into reeves’ strengths.  So the film is great visually but what about the substance?  Well, the thing about this series is that it talks a good game and generally maintains its dignity (which is no small achievement in this blockbuster atmosphere) but its scripts have never really been as smart as it advertises itself and this is no exception.  The series’ primary question of whether humans and apes can co-exist was more or less answered in the previous movie (the answer was “no”) so now we’re more or less left see how things play out to explain how the apes are going to take over and make the planet theirs.

For the most part things play out in a pretty satisfactory manner although there are some rather strange storytelling decisions towards the end.  I’m thinking in particular of a moment that I probably shouldn’t spoil but let’s just say that there’s an element of chance involved in the ultimate victory of one side over the other and this was so odd that I was really kind of baffled that anyone thought it was a good idea.  That’s not a huge deal though really.  My problems with the movie have less to do with what it is than what it isn’t.  Namely I’ve never really thought these movies were really they biting works of social commentary that they masqueraded as and aside from the not so radical proposition that humanity can be cruel and self destructive I don’t know that they really have all that much to say.  Compare that to the original series from the 60s and 70s, which if anything suffered from having too much to say at times, and these feel a little shallow.  Where those movies prioritized science fiction ideas and political undertones, these movies focus on pure execution and coherent plotting.  And hey, there’s nothing wrong with that, but I’ll save my praise for the movies that manage to do both.

Wonder Woman(6/3/2017)

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For someone who doesn’t read a whole lot of comic books I know a whole lot about Batman.  I know the origin stories of just about everyone in his rogues gallery, I can name a lot of the most famous storylines from his comic book run, and I know more about his adopted family than anyone should.  I also know a decent number of things about Superman, but after that my knowledge of DC’s roster of superheroes becomes pretty thin.  I can’t tell you much about The Flash other than that he’s fast, or about Aquaman other than that everyone thinks he’s a joke, and I couldn’t tell you much of anything about The Green Lantern aside from what was in that crappy Ryan Reynolds movie.  The character that I feel particularly ill-informed about is Wonder Woman.  Wonder Woman is certainly a very famous creation, but in many ways she seems to be more famous as an iconic symbol than as an actual character.  Most people could identify her on sight but how many of them would know that she’s an Amazon who’s directly related to Zeus and that she’s spent much of her life in an unending fight with Ares?  Probably a lot fewer than the number of people who know that Superman came from Krypton or that Batman’s parents were shot.  Of course part of that information gap is caused by the fact that the character had not been brought to the big screen before now, fortunately that’s being corrected by the new big screen adaptation of the character’s adventures in this year’s Wonder Woman.

The film begins by establishing Diana “Wonder Woman” Prince’s origin story, in which she was raised on Themyscira, an island in the Aegean that’s been hidden from the outside world and seemingly displaced in time through magic.  It’s explained that this island is the domain of the Amazons, a group of female warriors that were created by Zeus to temper the humans or something.  Anyway, Diana (Gal Gadot) is seemingly the only one of these warriors who began as a child and was raised on the island by her mother Queen Hippolyta (Connie Nielsen) and  her aunt General Antiope (Robin Wright).  There are some argument over whether Diane will be trained as a warrior but for the most part it’s an idyllic life, until suddenly bi-plane comes flying past the invisibility barrier of the island revealing that these events are actually occurring circa 1918 and crashes into the water.  This plane is piloted by an American spy working with the SAS named Steve Trevor (Chris Pine) who is being chased by a fleet of German boats.  After a brief skirmish Trevor tells the island ladies that World War I has been going on around them.  Diana determines that this is the doing of the Amazons’ nemesis Ares and resolves to venture out with Trevor to find and kill Ares, believing that this will end the war and bring peace to Earth.

It’s no secret that Wonder Woman is coming hot off the heels of a number of DC movies that made a lot of money but which were reviled by fans and critics.  Personally I liked some of them better than most.  I liked and continue to like Man of Steel a lot more than most people and I thought Suicide Squad had its moments (Batman V. Superman: Dawn of Justice, however, is every bit as terrible as everyone says), but either way it’s clear that there is a lot of pressure for DC to change direction in a number of ways and to do that they seem to have taken some cues from Marvel in certain places.  The film’s “superhero in World War I” set up is certainly reminiscent of Captain America: The First Avenger and while in human society Diana has some fish-out-of-water misunderstandings that reminded me a bit of the first Thor movie.  However it would be a mistake to say that the film is completely biting the Marvel style, in fact a lot of the film’s comedy is confined to the second act and much of the rest of the film actually has a lot more in common with the other DC films than critics have suggested.  In fact I think the film has quite a bit in common with Man of Steel in that both movies are about these incredibly strong and in certain ways alien beings trying to come to terms with what their potential place in human society is.  Additionally a lot of the film’s action scenes are definitely pulling from the Zack Snyder playbook with 300 style speed ramping and a grittier aesthetic over all.  In many ways Suicide Squad was probably the bigger departure from the other DC films.

As origin stories go Wonder Woman works out pretty well.  The comic book origin story for Wonder Woman is kind of “out there” and lacks the cleanness of something like “was bitten by a radioactive spider” and the movie does a pretty good job of conveying the whole “Amazons on an island” story without making it seem unnecessarily complicated.  There are of course certain plotholes that this opens up.  I do not for the life of me understand how time works on this island or how they managed to learn all sorts of modern foreign languages while still being so oblivious of modern world that they don’t know the First World War is going on around them.  The cloak of invisibility around the island also doesn’t exactly make sense as the reason they’ve been isolated for so long.  These are of course pretty minor quibbles in the long run.  The movie also does a pretty good job of indulging some of its more comedic elements without feeling like a cavalcade of one-liners and pop culture references or feeling too much like a departure from the feel of the other movies of the “Justice League” continuity and while the actions scenes certainly aren’t “top of the line” they are mostly pretty entertaining.

All told Wonder Woman is a movie that does a pretty good job of living up to the basic expectations of a modern superhero movie and here or there it adds some nice flairs of its own on top of that but it’s hardly a major genre re-invention.  For the most part this is a movie that follows the usual rules of superhero filmmaking pretty closely, and there’s nothing wrong with that exactly, I generally like superhero movies after all.  However, I can’t help but be a little disappointed that the movie plays things as safe as it does.  I generally go to DC’s movies expecting a little more experimentation than this.  We certainly got that with Suicide Squad even if the results were kind of a mess and Man of Steel also sought to show us a different kind of superhero movie from what we usually get.  This movie on the other hand just kind of feels like a safer and more diluted version of what DC has done before and I suspect that a lot of the people who were less open-minded about what they were doing before will find that to be a good thing but I personally found that a little disappointing.

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Your Name(4/9/2017)

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I’ve been going to “arthouse” theaters for a little over ten years now and there’s one thing that’s remained a constant about these theaters since the beginning: the audiences at them are very old.  There are some young people who will show up to them occasionally, myself included, but I would bet that the median audience age at some of these theaters is sixty or over.  However, recently I went to one of these theaters to see an anime film called Your Name and was taken aback by what I saw: the crowd that had assembled to see the movie was the youngest set of faces I’d ever seen at that theater.  There were a couple of the “traditional” arthouse audiences members I’d normally expect to see at a place like this peppered in but most of the people there seemed to be college, maybe even high school aged or at least in their twenties.  At the age of 29 I may well have actually been in in the elder third of audience members at that theater for the first time in my life.  It was also a pretty large crowd in general.  These kind of theaters do fill up some times, usually when movies that are getting Oscar buzz make their local debut, but in general I expect Sunday afternoon screenings at these places to be half filled at most but this place was close to sold out.  It was heartening.  Of course a big part of this may be that, outside of its foreignness Your Name is not really an “arthouse film” at all.  In its native Japan it’s actually a huge blockbuster.  It’s made nearly $200 million dollars in that country alone making it the fourth highest grossing movie of all time in that country and it’s also done big business in China and South Korea.  Apparently that buzz reached across the pacific and generated a crowd to see the film now that it’s available in the United States.

Your Name appears to be set in present day Japan and concerns a pair of teenagers named Mitsuha Miyamizu (Mone Kamishiraishi) and Taki Tachibana (Ryunosuke Kamiki) who live far away from each other and seemingly have no connections to one another until one day they mysteriously begin to switch bodies ala Freaky Friday.  It’s not terribly clear why this is happening but seems to be connected to a comet that’s visible in the sky while all this is going on.  Mitsuha is a girl living in a remote little town called Itomori while Taki is a guy living in Tokyo so Mitsuha is thrilled to experience all the fun things in Taki’s life while Taki comes to be charmed by Mitsuha’s town and its quaint ways.  The two are not in this state permanently and seem to do these body switches only a couple of times a week and when they return to their own bodies their out of body experiences feel hazy, more like dreams they’ve woken from rather than clearly remembered experiences and the two leave notes for one another and set certain boundaries that the other shouldn’t be crossing.  This goes on for a little while and the film seems like a pretty pleasant little low stakes comedy but there is something else going on here and when it emerges it makes this experience all the more deep for both people involved.

Unlike other famous anime films like Akira or Princess Mononoke this is not a film that “needs” to be animated given its subject matter.  There’s obviously a fantasy element in its concept but it’s set in mundane contemporary locales and doesn’t have any monsters or anything but I also doubt that a live action version of this script would have made one third of a billion dollars.  I think one of the biggest advantages of the animated format here is that it makes the body swap concept a bit more organic than it would in a conventional film.  In live action films like Big and Freaky Friday these high concepts get gimmicky fast and turn into these actors’ showcases and the whole thing becomes about the performers acting strangely and nothing else.  Your Name isn’t devoid of the kind of gags that this scenario would invite but they don’t overpower it and the film does organically “get over” the basic strangeness of the situation and move on past the obvious jokes.  Additionally, the animated format helps to get past a few narrative conceits that are required to get past a few inconsistencies that occur in the second half.  I can’t get into too much more detail on this but there are a couple of aspects to this that would definitely be considered plot holes if you’re not able to accept that the time these two spend in each other’s bodies are experienced almost like dreams and the fact that the film has the extra layer of unreality that animation provides makes this work a little better.

There is a bit more going on here than initially meets the eye and there is a twist in the second half that does raise the stakes to the movie a little and take it in a bit of a different direction than it initially seems and this shift is pretty well handled but I won’t go into any further details.  Overall I did find this to be a fairly charming and entertaining movie, at least when taken in a certain spirit.  The movie is about teenagers, and to a certain extent it’s also made for them and you do need to put yourself into a bit of a “young adult” mentality in order to fully enjoy it.  People should not go into it expecting it to be the next Ghost in the Shell or something, but its relative lightness is also a big part of its appeal.  Anime is generally known to be made for something of a niche audience, but Your Name isn’t.  It’s more accessible to general audiences than the sci-fi/fantasy fare that anime is usually associated with in the west, but at the same time it’s a bigger and more notable film than the more tranquil “Josei” anime that often have trouble finding broader audiences.  That, I think, is a big part of why it’s managed to find such a wide audience.  The other part is that it’s just such a well-made and enjoyable piece of work with a nice blend of comedy and pathos.

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X-Men: Apocalypse(5/30/2016)

5-30-2016X-MenApocalypse

We’ve long worried that there is a superhero bubble that’s about to burse and that audiences are finally going to get sick of seeing movies about costumed crimefighters and it feels like if there’s ever going to be an audience backlash against these movies it’s probably going to be in 2016.  The year isn’t even half over and we’re already at our fourth major superhero release and have two or three more to go (depending on whether you count Teenage Mutant Ninja Turtles).  Even crazier is that most of the superhero movies this year aren’t just about one superhero; they’re about superhero crossovers and teams.  Superman had to be going up against Batman and Wonder Woman, Captain America had to be in the midst of a star-studded civil war, and later we’ll be watching a group of super villains team up into a suicide squad.  As such it almost seems like one of the worst years for a film from the original cinematic superhero, the X-Men, to come out.  That’s unfortunate because this franchise should have been rushing in on a wave of momentum given that their last film, X-Men: Days of Future Past, was seen as something of a comeback high by a lot of filmgoers and critics.

This installment of the X franchise picks up about ten years after the end of the “past” section of the last movie and depicts the era in which the primary cast of the original X-Men movies are first being recruited into Xavier’s Academy.  Scott “Cyclops” Summers (Tye Sheridan) has just been recruited as the film opens and will soon meet a young Jean Grey (Sophie Turner).  This is fortuitous as Xavier and every mutant he’s in contact with will soon be tested by an ancient Egyptian mutant named Apocalypse (Oscar Isaac) who has recently awoken and begun recruiting disaffected mutants like Psylocke (Olivia Munn), Archangel (Ben Hardy), and Storm (Alexandra Shipp) to be his “horsemen” and eventually he comes across the continually disaffected Magneto (Michael Fassbender) to be his second in command.  Soon this young cadre of mutants as well as some fence sitters like Mystique (Jennifer Lawrence), side characters like Quicksilver (Evan Peters), and older allies like Beast (Nicholas Hoult) will be forced to rise to the occasion and take down this existential threat to human and mutant alike.

X-Men: Apocalypse is certainly a less ambitious movie than its predecessor in that it lacks X-Men: Days of Future Past’s cool time travel hook.  In many ways its business as usual for the X-Men franchise so your enthusiasm for this movie will probably vary by how much you’ve liked previous installments and how excited you are for more of the same.  This prequel trilogy continues to flesh out how we got to where we started with the series (even if it isn’t doing a terribly convincing job of making the characters age as the story moves through the decades).  The film also does very little to catch newcomers up with what’s been going on so this may not be the best entry point for newcomers to the series.  What the film does do pretty effectively is treat longtime fans of the series to a lot of nods to what they’ve liked in the past and to reward them for having kept up with the franchise for as long as they have.  Did you like the Quicksilver stuff from the last movie?  There’s more of that.  Did you hate X-Men 3?  There’s a thinly veiled dig at that movie.  Do you need more Wolverine in your life?  Well rest assured that Hugh Jackman has a prominent cameo.

If there’s a major flaw to be found here it’s that some of the returning cast feel a bit shoehorned into the film.  For instance, Mystique’s role in the whole series seems to have grown larger than it was ever intended to be, in part because the films feel obligated to give more and more screen time to Jennifer Lawrence (who wasn’t particularly famous yet when she was first cast in the role).  I’m also not sure that Magneto really belongs here either as his character would seem to be more complex than someone who would just team up with a supervillain like Apocalypse who is just evil with a capital “E.”  Speaking of Apocalypse… he’s not great but he was better than I expected.  The character has always been a bit stock going back to his role in the comics.  He’s basically X-Men’s answer to Thanos, who was himself kind of a ripoff of Darkseid, and given that I would be inclined to give the movie credit for doing the best they could to not simply make him a super-generic brooding villain.  I don’t know that this was the best use of Oscar Isaac’s time, but ultimately I do think the movie does more with this kind of villain than some of the Marvel movies like Thor: The Dark World and Guardians of the Galaxy were able to do with similar characters.

As for the new cast… most of them are pretty good but there wasn’t much in the way of a starmaking standout here.  Tye Sheridan is a decent Cyclops, Sophie Turner is a decent Jean Grey, Kodi Smit-McPhee is a decent Nightcrawler, Alexandra Shipp certainly looks like a pretty good Storm but is quickly put into a henchman role that doesn’t give her a lot to do.  None of these performances are bad at all, but this certainly isn’t the embarrassment of young acting riches that X-Men: First Class managed to stumble into.  I do look forward to seeing what all these characters are up to in the 90s, as for the current 80s exploits we’re witnessing here… I mostly enjoyed it.  I seem to be in the minority on this given that the movie is currently sitting at 48% on Rotten Tomatoes, and I don’t really get why… well, maybe I do.  I don’t think there’s much of anything awful or even bad about the movie but nothing about it really stands out either and I can see why people would maybe want to punish the series for treading water a bit in this installment.  Personally, I think there are much bigger offenses that other movies get passes for.  Also, I can’t help but look at weaker entries in this series and genre like X-Men: The Last Stand and this year’s Batman V. Superman: Dawn of Justice (a movie whose ineptitude will make a lot of other superhero movies this year look damn good by comparison) and feel that this has a lot more going for it.