Fantastic Beasts: The Crimes of Grindelwald review

FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD

Director : David Yates
Cast : Eddie Redmayne, Katherine Waterston, Dan Fogler, Alison Sudol, Ezra Miller, Zoë Kravitz, Callum Turner, Claudia Kim, Jude Law, Johnny Depp, Brontis Jodorowsky
Genre : Adventure/Fantasy/Drama
Run Time : 134 mins
Opens : 15 November 2018
Rating : PG

The Wizarding World gains a new wrinkle as writer J.K. Rowling takes us deeper into the happenings that far preceded young Harry Potter’s enrolment at Hogwarts. It is 1927 and leaving off the events of the first Fantastic Beasts film, magizoologist Newt Scamander (Eddie Redmayne) is still being reprimanded by the Ministry of Magic for his involvement in the chaos in New York the previous year. Albus Dumbledore (Jude Law), Newt’s former Defence Against the Dark Arts teacher at Hogwarts, entrusts him with a special mission: find and defeat the treacherous wizard Gellert Grindelwald (Johnny Depp), with whom Dumbledore has a shared past.

Grindelwald’s agenda of Pureblood wizard supremacy and complete control over the non-magical population requires one special ingredient: Credence Barebone (Ezra Miller), who is off in search of his identity. Newt, reuniting with MACUSA Auror Tina Goldstein (Katherine Waterson), Tina’s sister Queenie (Alison Sudol) and Queenie’s boyfriend Jacob Kowalski (Dan Fogler), must get to Credence before Grindelwald does, as Grindelwald amasses more support for his dangerous ideology.

Fantastic Beasts: The Crimes of Grindelwald takes the flaws of Fantastic Beasts and Where to Find Them and amplifies them. While the first Fantastic Beasts movie was ostensibly a whimsical monster movie about a tweedy textbook author who is flung into a larger-than-life adventure, The Crimes of Grindelwald is on its way to almost entirely dropping that pretence, pushing this line of films further into the tangled back-story of the original Harry Potter series. Director David Yates and screenwriter JK Rowling return, and The Crimes of Grindelwald does feel like a part of the larger Wizarding World, but it also seems designed to frustrate and annoy the Potterhead faithful and casual viewers alike.

While Fantastic Beasts and Where to Find Them was far enough removed from the main line of Potter lore for neophytes to hop on to, The Crimes of Grindelwald dives head-first into reams of back-story, such that characters are trying to catch their breath while delivering exposition. Many issues with the storytelling can be traced to how this is movie #2 in a planned series of five films, meaning the usual frustration that comes with watching the second movie in a trilogy is multiplied. There aren’t just a few loose ends left untied, this is a two-for-one loose end sale.

The film’s glaring faults aside, fans of the Wizarding World will find plenty that’s charming about this movie, and it will be hard to not be moved by the film’s brief sojourn back to the Hogwarts grounds, a stop by the Great Hall included. Production designer Stuart Craig’s sets are beautiful creations, the French Ministry of Magic a particularly elegant locale. Colleen Atwood’s costumes for the earlier films nabbed the designer her fourth Oscar win, and Tina gets to sport a particularly sleek leather coat this time around. James Newton Howard’s sumptuous score conjures up memories of John Williams’ work on the series, while stopping short of feeling like a copycat. Alas, much of the visual effects work, especially on the creatures, continues to feel synthetic, making us pine for that animatronic Basilisk from the end of Chamber of Secrets.

While the first film planted the seeds of Grindelwald’s looming presence in the magical world, the sequel places him front and centre. No longer a shadowy threat, Johnny Depp is all over this movie, his casting having led to much uproar. Even leaving aside the domestic abuse allegations that make Depp’s presence in this film cast a dark pall on the rest of it, his Grindelwald just isn’t magnetic or menacing enough. The character is meant to be a seductive populist who cleverly veils his hateful creed in shrewd warnings of Muggle arrogance and self-destructiveness. Depp may have residual star power, but he falls dramatically short when he’s supposed to carry this film.

It is comforting to see Newt, Tina, Jacob and Queenie again, but the returning characters must make a little room for new ones. Zoë Kravitz’s Leta Lestrange, a former flame of Newt’s and now involved with Newt’s brother Theseus (Callum Turner), is an enigmatic character who has lots of dramatic potential but gets short shrift. Similarly, Ezra Miller’s conflicted Credence, who proved one of the most interesting parts of the first film, shows glimmers of power, but his story is purposefully incomplete.

Jude Law’s appearance as a dashing young Dumbledore is one of the film’s big selling points, but his screen time is necessarily brief. The crucial relationship and later falling out between Dumbledore and Grindelwald is hinted at but not expounded upon. Callum Turner is bound to become Tumblr’s new boyfriend and the sibling rivalry between Newt and Theseus is fun, but borders on feeling extraneous.

One of the other controversial aspects of the film, casting South Korean actress Claudia Kim as the human form of the snake Nagini, proves to be more fuss than it’s worth. The problematic implications are there, but the inclusion of Nagini contributes practically nothing to the story.

There is another review with the headline “with The Crimes of Grindelwald, J.K. Rowling has hit peak George Lucas”. While that is a bit hyperbolic, the comparison isn’t without merit. There is obviously plenty of care taken in further crafting the look and feel of the Wizarding World, but as the film piles on the reveals and gets lost in doling out fan-service, the movie clearly buckles under its own weight. Now to wait for three more of these and it all might make sense then.

 

RATING: 2.5 out of 5 Stars

Jedd Jong

Advertisements

Bohemian Rhapsody review

BOHEMIAN RHAPSODY

Director : Bryan Singer, Dexter Fletcher
Cast : Rami Malek, Lucy Boynton, Gwilym Lee, Ben Hardy, Joseph Mazzello, Aidan Gillen, Tom Hollander, Allen Leech, Mike Myers, Aaron McCusker, Ace Bhatti, Meneka Das
Genre : Biography/Drama
Run Time : 136 mins
Opens : 1 November 2018
Rating : M18

            Is this the real life? Is this just fantasy? The story of Freddie Mercury and the band Queen comes to the big screen in a biopic that’s somewhere in the middle, but perhaps a little closer to the fantasy end of the spectrum.

It is 1970 in England. Freddie Mercury (Rami Malek), born Farrokh Bulsara to parents Bomi (Ace Bhatti) and Jer (Meneka Das), is a young singer-songwriter with dreams of stardom. Freddie goes to see the band Smile perform, and after the departure of their lead singer/bassist Tim Staffell (Jack Roth), Freddie petitions guitarist Brian May (Gwilym Lee) and drummer Roger Taylor (Ben Hardy) to join Smile. With the addition of bassist John Deacon (Joseph Mazzello), Freddie rebrands the band Queen. When they rent a recording studio to record an album, the fledgling band is discovered and is signed to record label EMI.

So begins a meteoric rise into the stratosphere for Queen, who break into the Billboard charts in the USA and become a worldwide phenomenon. However, there is trouble behind the scenes. Freddie’s fiancé Mary Austin (Lucy Boynton) quickly realises he is gay, and Freddie’s personal manager and lover Paul Prenter (Allen Leech) drives a wedge between Freddie and the other members of Queen. In 1985, the band is given the chance to perform at the massive benefit concert Live Aid, but with Freddie succumbing to AIDS, it will take everything he has to return to the stage.

Bohemian Rhapsody has had a notoriously rocky journey to the big screen. The film was announced in 2010, with Sacha Baron Cohen attached to the Freddie Mercury role. Following disagreements with May and Taylor, Cohen departed the project. Ben Whishaw was briefly set to replace Cohen, then Dexter Fletcher came onboard to direct, before leaving over creative differences with producer Graham King. Rami Malek was sought to star. Bryan Singer then joined as director, but about two-thirds through production, was let go, reportedly due to absences from the set and clashes with Malek. Fletcher was then brought back to replace Singer.

The resulting film is far from a mess but does leave a bit to be desired. This reviewer got chills multiple times, and the music of Queen does a lot of the heavy lifting. There are many moments in the film that border on saccharine, but against all odds, are effectively emotional. There are also enjoyable bits when Freddie, Brian, Roger and John are all just being silly and goofing about. However, the film feels less like an insightful peek behind the curtain and more like a highlight reel of all the important moments in the band’s history.

It is this feeling of flitting from moment to moment that robs the film of its authenticity, but that also lends it some charm. When Freddie plays the opening bars of “Bohemian Rhapsody” on the piano, asking Mary if there’s any potential in the tune, or when Brian stomps his feet and claps to form the start of “We Will Rock You”, or when John spontaneously generates the bassline for “Another One Bites the Dust”, audience members are supposed to nudge their friends in recognition.

There is a bombastic cheesiness to the whole affair that is perhaps fitting for the subject matter, but these moments also firmly make Bohemian Rhapsody feel like the ‘Hollywood version’ of the Queen story. There are times when the film is in danger of feeling like a Saturday Night Live sketch, especially when Mike Myers makes a cameo appearance as (fictional) EMI executive Ray Foster. One can almost picture Blue Öyster Cult waiting outside the studio, with Christopher Walken ready to demand more cowbell.

Rami Malek’s performance is a big part of why the movie ends up as an engaging, affecting work despite its shortcomings. One can sense that Malek is aware of the responsibility of portraying such an iconic and beloved musical icon, but he does not crumble under the weight of said responsibility. He’s more than just a great pretender: there’s the flamboyance, flair and prosthetic teeth, but Malek is careful not to let his portrayal of Freddie slide into caricature, even as other aspects of the movie do. The flashes of vulnerability and lostness behind his eye register as genuine. All the vocals are lip-synced to original recordings of Queen, with Marc Martel providing additional vocals.

Boynton, star of the underrated musical Sing Street, is destined for superstardom. Her portrayal of Mary Austin is heart-rending even though the film doesn’t quite flesh her character out. There’s a sweetness but also a toughness to Boynton’s Mary, such that the audience sympathises with both her and Freddie.

Some questionable wig work aside, Lee, Hardy and Deacon are all quite believable as May, Taylor and Deacon. The real-life May and Taylor are still involved with Queen and had a significant say in what went into this movie. As a result, May especially comes off as a saint. Deacon, who retired from music in 1997, is portrayed as the butt of the joke, but each member has moments when they’re endearing and it’s clear that they all cared for each other even through Freddie’s personal tumult.

Ace Bhatti and Meneka Das make small but impactful appearances as Freddie’s parents Bomi and Jer respectively. Tom Hollander’s Jim Beach is genial and supportive – Beach is a co-producer on the film. Allen Leech’s Paul Prenter grows slimier as the film progresses, while Aaron McCusker brings a warmth and twinkle in the eye to Jim Hutton, Freddie’s boyfriend during his final days.

The film’s re-enactment of the Live Aid concert is a sweeping triumph, capturing the epic scale of the event with a depiction of Queen’s entire set beginning to end. Bohemian Rhapsody will likely be a crowd-pleaser with a middling, bordering on negative critical reception. While its gloss makes it seem like the film skims the surface, the everlasting music produced by the band and strong, committed performances make it not quite the champion, but at the very least the bronze.

RATING: 3.5 out of 5 Stars

Jedd Jong

Zombiepura movie review

ZOMBIEPURA

Director : Jacen Tan
Cast : Alaric Tay, Benjamin Heng, Joeypink Lai, Chen Xiuhuan, Richard Low, Haresh Tilani, Edward Choy, Rayve Zen
Genre : Horror/Comedy
Run Time : 83 mins
Opens : 25 October 2018
Rating : PG13

It’s every reservist national serviceman’s worst nightmare: what if you book in and due to undead-related shenanigans, never book out? This is the premise of the horror comedy Zombiepura.

Kayu Tan (Alaric Tay) isn’t taking his reservist duty seriously, much to the chagrin of his overzealous sergeant Lee Siao On (Benjamin Heng). Kayu and his friend Tazan (Haresh Tilani) feign illness, in the grand tradition of national servicemen malingering to avoid going on duty. At the infirmary, Kayu and Siao On discover that their fellowmen servicemen have turned into rabid zombies. The pair must get along to survive, and must also rescue canteen operator Susie (Chen Xiuhuan) and her daughter Xiao Ling (Joeypink Lai). People will get bitten, obstacle courses will be navigated, and hopefully, ideas will be awoken as the ragtag gang try to reach the outside world and get to safety.

Zombiepura is a film that was announced in 2011 and has taken seven years to come to fruition. This reviewer has always wanted to see more mainstream genre fare, with the ability to travel, come out of Singapore. Singapore films are perceived as being either highbrow Cannes contenders or Chinese New Year fare aimed at uncles and aunties in the heartland. On paper, Zombiepura seems to occupy this middle ground. While the effort behind making a film like this is evident, the execution leaves plenty to be desired.

The film finds itself 14 years late to the Shaun of the Dead bandwagon, with characters that are nowhere near as endearing as those in Edgar Wright’s zom-com, nor jokes that are anywhere near as funny. It’s a lot closer to Scout’s Guide to the Zombie Apocalypse.

A lot of Zombiepura hinges on the local context, being set in an army camp. There are in-jokes about the banality of reservist duty and the characters are all roughly stock types, that can be easily described with one line on the poster. Plenty of the humour is crass, and audiences are meant to laugh at a soldier pretending to have depression to dodge duty. This is to say nothing of the film’s flagrant misogyny – the female lead is referred to almost exclusively as ‘chiobu’, Hokkien for hot chick, and nobody finds this inappropriate.

The premise is relatively clever in that containing the film within an army camp limits the scope, so the movie is not obligated to show expensive scenes of city streets overrun with zombies, World War Z-style. There are several physical comedy gags that work, notably one involving two characters scrambling up a flagpole with the zombies standing at the base grasping at their feet. The zombies’ specific weakness, while nothing ground-breaking, is good for a chuckle. The makeup effects, overseen by June Goh, are serviceable, and there is a healthy amount of blood and gore.

Horror films are often excellent vehicles for allegorical messages. Train to Busan astutely commented on South Korea’s hierarchical pressure-cooker society, and one of the original zombie movies, George Romero’s Dawn of the Dead, was a satire on burgeoning consumerism in America. Zombiepura half-heartedly attempts something roughly along these lines, equating the zoned-out way bored servicemen go about their patrol duty with the mindlessness of your average zombie. However, the film doesn’t push the socio-political commentary as far as this reviewer would’ve liked, but to be honest, nobody was expecting that of this particular film anyway.

Stars Alaric Tay and Benjamin Heng, who form the production company JAB Films with director Jacen Tan, work well opposite each other. There’s not very much to either character, and they’re difficult to root for. Naturally, there is a modicum of character development as the gravity of their predicament hits them. This is to say nothing of the on-the-nose names like Kayu and Siao On. Richard Low cameos as Siao On’s father Mad Dog, a Regimental Sergeant Major. The implication is that Siao On is desperate to live up to his father’s reputation, but this aspect of the character doesn’t get enough play.

Joeypink Lai, Miss Universe Singapore 2016 finalist and realtor, functions purely as eye candy and little else. The Xiao Ling character has no complexities, and when she figures in a would-be emotional scene, there is no impact at all. Chen Xiuhuan is Lai’s onscreen mother, who is similarly objectified, albeit not to the extent Lai is.

Rayve Zen’s Chua, who initially seems harmless but becomes more villainous as the film goes on, is arguably the most interesting character in the film. It is in depicting his self-centredness that the film gets anywhere in the Train to Busan zone. Haresh Tilani of Ministry of Funny fame gets a small role as kind of a sidekick to Kayu, who disappears once Kayu and Siao On team up.

It is exceedingly difficult to get a movie made in Singapore, let alone a genre movie requiring stunts, permits, special effects and specialised location work. The thing is, Zombiepura easily could’ve been a better, smarter, funnier and cannier movie without any additions to the budget. It doesn’t cost anything to not constantly objectify the female lead or outright mock mental illness.

It’s ironic that one of the film’s sponsors is grocer Taste, since Zombiepura is sorely lacking in taste. Then again, one might argue that tasteless is exactly what a zombie movie would be. We’d hesitate to call this ‘encouraging’ for the industry, but in some technical aspects, perhaps it is a stagger/hobble in roughly the right direction.

RATING: 2.5 out of 5 Stars

Jedd Jong

Halloween (2018) review

HALLOWEEN

Director : David Gordon Green
Cast : Jamie Lee Curtis, Judy Greer, Andi Matichak, Will Patton, Virginia Gardner, Nick Castle, James Jude Courtney, Jefferson Hall, Rhian Rees, Toby Huss, Haluk Bilginer
Genre : Horror
Run Time : 106 mins
Opens : 25 October 2018
Rating : M18

Halloween-posterOctober 31, 2018: the night he came home again. It has been 40 years since the events of the original Halloween film, and masked serial killer Michael Myers (Nick Castle, James Jude Courtney) has been safely locked away under the watchful eye of prison psychiatrist Dr Ranbir Sartain (Haluk Bilginer). True crime podcasters Aaron Korey (Jefferson Hall) and Dana Haines (Rhian Rees) plan on interviewing both Michael and the survivor of his murderous rampage, Laurie Strode (Jamie Lee Curtis).

Laurie has spent the last four decades in constant fear and paranoia of Michael’s return. This has put a strain on her relationship with her daughter Karen (Judy Greer), who is married to Ray (Toby Huss) and has a daughter of her own, Allyson (Andi Matichak). When Michael escapes and returns to his old stomping grounds of Haddonfield on Halloween night, Laurie’s worst fears are realised. Even though Laurie has prepared to face Michael again, there’s no telling what terrors will unfold with Michael back on the loose.

Halloween-Jamie-Lee-Curtis-hand-through-door

The Halloween franchise has a storied, messy past. John Carpenter’s 1978 original is considered one of the finest horror films ever made, and kickstarted a wave of slasher movies in the 80s. Through multiple instalments, the Halloween films tended to lose sight of what made the first one so good. This movie ignores all the sequels, functioning as if it were only the second film in the series. This has been done before: Halloween H20: 20 Years Later ignored the films after Halloween II.

Any franchise that’s been around as long as Halloween has, especially a horror franchise, will eventually find itself wading into silliness. What once was terrifying devolves into self-parody, and eventually martial arts fights with Busta Rhymes ensue. Director/co-writer David Gordon Green and co-writers Jeff Fradley and Danny McBride strip Halloween back to basics in a satisfying, terrifying entry that stays true to the spirit of the original while having a propulsive energy of its own.

Halloween-Jamie-Lee-Curtis-behind-Michael-Myers

Green nails the sense of foreboding, the fear of what might be lurking around every corner, in every doorway and corridor, that is a key factor in establishing the nail-biting tension a good Halloween movie must possess. John Carpenter returns to the score the film alongside son Cody and Daniel Davies; the iconic Halloween theme remaining one of the best pieces of film music ever written. Cinematographer Michael Simmonds employs light and shadow to dramatic effect, while Tim Alverson’s editing ratchets up the tension that much more. This looks and feels like Halloween, but there’s an urgency to this movie and it doesn’t come off as an artefact or a hollow exercise in nostalgia.

Halloween-Jamie-Lee-Curtis-cleaning-gun

In revisiting the Laurie Strode role in Halloween H20, Curtis wanted to explore the effects that the trauma of Laurie’s run-in with Michael would have. She gets to dig even deeper here, and Laurie in this movie is essentially Sarah Connor, a woman who has dedicated her entire existence to preparing for Michael’s return, at the expense of her interpersonal relationships. The film’s depiction of post-traumatic stress disorder is compelling and heart-rending, and Curtis doesn’t phone this in at all. It’s a Halloween sequel worthy of the character, and a lot of the film is about Laurie’s arduous personal quest to reclaim what Michael stole from her. There’s also the implication that in fighting a monster, Laurie has become something of a monster herself, with some shots mirroring ones from the original film, but with Laurie and Michael swapping places.

Halloween-Judy-Greer-Jamie-Lee-Curtis-1

While many Halloween fans might bemoan Danielle Harris’ absence from the film, and how Laurie’s daughter from Halloween 4 has been overwritten by a different character, Greer puts in a great performance. She’s disarming and naturally funny, but Karen is hurt and, in her own way, traumatised by what her mother has put her through – Greer conveys this ably.

Halloween-Andi-Matichak

Matichak might well be a breakout star after this film. Allyson is a believable teenager but never annoying, and it’s interesting to see what traits she might have inherited from her grandmother. The film is at its best when grandmother, daughter and granddaughter play off each other. This is a film about legacy and an entry in a franchise with a legacy all its own, so the device of Michael tormenting multiple generations is a potent one.

Halloween-Michael-Myers-through-car-door

Castle returns as Michael, sharing the role with stunt performer James Jude Courtney. This is Michael as horror fans remember him, and just like in the original Halloween, some of the most terrifying moments are Michael just lurking in the corner, standing still. There are several exceedingly brutal kills, but the gore never takes precedence over the sense of dread.

Bilginer’s performance is a little broader than some of the others, but it works, since he’s playing a man whose obsession with serial killers has perhaps spilled over from being purely professional.

Halloween-Michael-Myers-in-closet

2018 is the year in which Jim from The Office directed and starred in one of the finest suspense horror movies in recent memory, A Quiet Place. Now, 2018 can also lay claim to being the year in which the team behind Pineapple Express, Your Highness and Eastbound & Down brought the Halloween franchise back to life in a big way. Now just don’t muck it up with further sequels.

RATING: 4 out of 5 Stars

Jedd Jong

First Man review

FIRST MAN

Director : Damien Chazelle
Cast : Ryan Gosling, Claire Foy, Corey Stoll, Pablo Schreiber, Jason Clarke, Kyle Chandler, Christopher Abbott, Patrick Fugit, Lukas Haas, Shea Whigham, Brian D’Arcy James, Cory Michael Smith, Ciarán Hinds
Genre : Drama/Biography
Run Time : 143 mins
Opens : 18 October 2018
Rating : PG13

Call it ‘La La Moon Landing’: Damien Chazelle, the youngest winner of the Best Director Oscar, trains his sights on NASA’s quest to put the first man on the moon in this biopic.

It is 1961 and civillian test pilot Neil Armstrong (Ryan Gosling) is accepted into NASA Astronaut Group 2. Deke Slayton (Kyle Chandler), NASA’s first Chief of the Astronaut Office, emphasises how the Soviet Union has beaten the US to every major milestone in the Space Race. This batch of astronauts, which also includes Ed White (Jason Clarke), David Scott (Christopher Abbott), Elliott See (Patrick Fugit), Michael Collins (Lukas Haas) and Edwin “Buzz” Aldrin (Corey Stoll), among others, will take part in the Gemini Program. Gemini is NASA’s second human spaceflight program, and the tests conducted during the Gemini missions will lead to the Apollo Program, which aims to put a man on the moon.

The training is physically and mentally demanding, and the risk is high – several of the astronauts whom Neil becomes close to die in failed missions. This takes a toll on Neil’s wife Janet (Claire Foy), who fears that their children Rick (Gavin Warren and Luke Winters at different ages) and Mark (Paul Haney and Connor Blodgett at different ages) will be left without a father. NASA faces scrutiny and pressure in the aftermath of their high-profile failures, as many across the nation question the cost of the Space Race in dollars and in lives. This culminates in Neil, Buzz and Michael forming the crew of Apollo 11, with Neil becoming the first man to step foot on the lunar surface.

Following in the grand tradition of historical dramas about the Space Program like The Right Stuff and Apollo 13, First Man is an awards contender that hopes to also thrill audiences. Chazelle works from a script by Spotlight and The Post co-writer Josh Singer, who adapted history professor James R. Hansen’s book First Man: The Life of Neil A. Armstrong. First Man combines a documentary-like feel marked by lots of grainy verité handheld shots with grand cinematic spectacle, and it’s a balance that mostly works.

There are bits of First Man that do feel a bit dry, but the film does a fine job of covering the history and an even better job of putting audiences inside the spacecraft alongside the astronauts. Before the Gemini 8 mission takes off, we get close-up shots of all the rivets and bolts inside the capsule as it creaks on the launchpad – if just one tiny thing fails, it all goes up in smoke. First Man contains some of the most realistic depictions of spaceflight ever put on screen, and endeavours to shed light on the people who made the achievements of the Space Program possible.

Chazelle reunites with several collaborators from La La Land, including cinematographer Linus Sandgren and composer Justin Hurwitz, who also scored Whiplash. The 16 mm and 35 mm film stock give the film an authentic period feel, while the moon landing sequence is presented in all its 70 mm IMAX glory. There is careful attention to detail in capturing the specifics of the ‘60s NASA setting, and production designer Nathan Crowley’s reproductions of the spacecraft and facilities is entirely convincing.

The backlash against the film for omitting the moment in which the American flag is planted on the moon seems like a mountain out of a lunar molehill. The decision to leave this well-known part of the moon landing out seems to stem from a desire to pare back the iconography of this historical moment and focus the story into something personal, giving the movie an honesty and a rawness.

Gosling anchors the film with a quiet, well-considered performance. The film characterises Neil Armstrong as someone who’s intelligent and earnest, but who is not especially well-equipped to process the grief that befalls him and those he cares about all too often. He is consumed by his work and driven to succeed, while it looks like everything around him is in danger of crumbling away. There’s an earnestness and intensity that Gosling dials to just the right level.

Foy’s Janet Armstrong is stern but caring, and her take on the role is a lot more than “worried wife back home”. Her relationship with Neil underscores how the astronauts are people with their own lives, and that serving the higher call of the Space Program comes at the expense of those lives.

The film’s supporting cast, including Clarke, Chandler and Ciarán Hinds, all give serious, unassuming ‘character actor’-type performances. Stoll’s Buzz Aldrin is characterised as someone who’s not exactly likeable, and this is something Stoll visibly enjoys playing.

First Man is a finely crafted serious awards season drama, but watching it still feels a little bit like homework. The attempts to juxtapose the US’ involvement in the Space Race against the Vietnam War and the Civil Rights struggle are commendable but a little clumsy. In taking a matter-of-fact approach, the film loses some of the wonderment and awe associated with mankind “slipping the surly bonds of earth”. However, Chazelle and co. largely succeed in crafting a credible account of Neil Armstrong’s journey from the earth to the moon.

RATING: 4 out of 5 Stars

Jedd Jong

Venom review

VENOM

Director : Ruben Fleischer
Cast : Tom Hardy, Michelle Williams, Riz Ahmed, Reid Scott, Jenny Slate, Scott Haze
Genre : Comics/Action/Sci-fi
Run Time : 112 mins
Opens : 4 October 2018
Rating : PG13

Tom Hardy is his own worst enemy and maybe also his own best friend in this Marvel Comics adaptation. Hardy plays Eddie Brock, a journalist engaged to successful lawyer Anne Weying (Michelle Williams). Brock has trained his sights on Carlton Drake (Riz Ahmed), an industrialist and inventor who has privately funded space exploration missions. As the head of the Life Foundation, Drake portrays himself as a benevolent force for good, but Brock suspects that Drake is secretly conducting unethical, illegal activities which have resulted in civilian deaths.

A Life Foundation spacecraft crashes on earth, and its cargo, an alien life form, escapes. This is a symbiote, which needs to bond to a host to survive. When Dr Dora Skirth (Jenny Slate), a scientist working for the Life Foundation, approaches Brock as a whistle-blower, Brock investigates and another symbiote bonds to him. This is the entity known as Venom, which manifests as a voice in Brock’s head and takes over his body, giving him enhanced strength and healing and causes him to emanate tendrils. Brock must make sense of this new unwelcome guest while uncovering the extent of Drake’s misdeeds, eventually learning to coexist with Venom and use his newfound abilities to his advantage.

There have been multiple attempts at a Venom movie, including one in the late 90s that was reportedly slated to star Dolph Lundgren, and another attempt that would have taken place within the continuity of the Amazing Spider-Man movies. Then of course there was the iteration played by Topher Grace in Spider-Man 3, which left many fans unsatisfied.

Venom was created by Todd McFarlane and David Michelinie, and is arguably Spider-Man’s best-known, most visually striking nemesis. The character’s origin directly involves Spider-Man – in the comics, the symbiote is a discarded alien suit worn by the web-slinging hero. As such, a Venom movie that is completely removed from Spider-Man feels like a tricky prospect. This reviewer had to remind himself that at least the symbiote’s host is still called “Eddie Brock”, unlike the Catwoman movie which starred a character named Patience Phillips, who was nothing like the Catwoman of the comics, Selina Kyle.

Venom-symbiote-Tom-Hardy-1

The film’s somewhat tormented production process has led to an odd beast. Venom is tonally weird. One would be forgiven for expecting a dark, disturbing movie – after all, the title character is a slimy alien parasite with pointy teeth and a long, icky tongue. However, what Venom most resembles is a buddy comedy. The symbiote seems characterised as the friend who’s a bad influence, pushing Eddie to do things he would rather not do. The symbiote is an obvious metaphor for the darkness deep within a person being brought to the surface, so it is somewhat baffling that the film does practically nothing with this concept.

The action sequences are moderately entertaining but not especially memorable. There’s a motorcycle chase and a sequence in which Venom takes on an entire SWAT team in a smoke-filled apartment building lobby, but any time the full-on creature takes over the action, things feel distinctly synthetic. The climactic fight is a battle between one thing made of CGI and another thing made of CGI, set against a mostly CGI backdrop.

Then, there is the PG-13 rating. A movie doesn’t have to be R-rated to be good, it doesn’t even have to be R-rated to be effectively disturbing. However, this is a movie in which the title character bites people’s heads off and impales his enemies through the torso. It’s a bit difficult to sell the viciousness when it must happen off-screen or obscured while something else is going on. That said, this movie could’ve been R-rated and still turned out limp.

Hardy is perfectly watchable in the role and tries to make something interesting out of the material. He ends up performing quite a bit of physical comedy, which seems out of place, but which he commits to. There is the sense that Hardy could have brought so much more to the table had the script allowed him to dig into the inherently unsettling nature of the bond between the Venom symbiote and its human host, but it seems the film is more interested in back-and-forth banter.

Michelle Williams is wasted as a character who isn’t too much more than the designated girlfriend, even though there is a nice nod to her character in the comics. Riz Ahmed plays a ruthless Elon Musk-type, who is at once a cartoony villain while also bland and barely menacing. Jenny Slate’s mousey scientist who might just be the one to bring the villain down seems like she might be interesting, but similarly gets little to do. While some comic book movies suffer from far too many characters, there are almost too few interesting characters at all in Venom.

The casual viewer might find Venom a passable diversion, but anyone who is particularly attached to the comics will be sorely dissatisfied. The film attempts to translate the character’s sarcasm to the screen, but lacks the acid-drenched wickedness which must accompany said sarcasm. The result is a relatively safe movie about a character who should always feel at least a little dangerous. Director Ruben Fleischer’s best film remains Zombieland, so perhaps comedy is where he should focus his efforts. There is a goofiness to Venom that is strongly reminiscent of comic book movies made when the filmmakers making them hadn’t fully figured things out yet: a bit of Spawn here, a bit of the 2002 Hulk movie there.

Stick around for a mid-credits tag which hints as sequel – as mediocre as this outing is, we’d be darned if we didn’t want to see a sequel make good on what this scene promises. There’s also a sneak peek at a forthcoming movie at the very end of the credits.

RATING: 2.5 out of 5 Stars

Jedd Jong

 

 

A Star Is Born (2018) review

A STAR IS BORN

Director : Bradley Cooper
Cast : Lady Gaga, Bradley Cooper, Sam Elliott, Andrew Dice Clay, Dave Chappelle, Anthony Ramos, Rafi Gavron, Greg Grunberg, Michael Hanley
Genre : Drama/Romance/Musical
Run Time : 135 mins
Opens : 4 October 2018
Rating : M18

It’s a tale of love, loss and rock and roll: A familiar story is given a new lease of life by star/director Bradley Cooper and his leading lady Lady Gaga in this musical romantic drama.

Cooper plays hard-drinking rock star Jackson Maine, whose years on the road and life of excess have left him numb. Jackson finds new meaning in life when he chances upon Ally (Lady Gaga), a young singer performing at a dive bar. Jackson decides to take Ally under his wing and invites her onstage to sing a song she wrote with him at his concert. Jackson and Ally fall madly in love, but Jackson’s demons haunt their relationship, as prominent producer and Ally’s new manager Rez (Rafi Gavron) tussles with Jackson for control of the rising talent’s career.

A Star is Born is the third remake of the 1937 film starring Janet Gaynor and Fredric March. The film was subsequently remade in 1954 with Judy Garland and James Mason, and in 1976 with Barbra Streisand and Kris Kristofferson. A third remake of the classic film has been in the works for a while, with actors including Christian Bale, Tom Cruise, Will Smith and Leonardo DiCaprio variously linked to the project. Clint Eastwood was going to make the film with Beyoncé. Considering the previous well-known iterations of the story and the somewhat bumpy production process, one would be forgiven for fearing a messy result.

Those fears are firmly assuaged with a film that has a linear, uncomplicated plot, but is inhabited by characters who feel like real people and whom audiences will care about. Praise has been heaped onto both Cooper and Gaga, who prove deserving of said praise. This does not feel like the work of a first-time filmmaker, and Cooper directs with a clear-eyed confidence. The cinematography by Matthew Libatique, oft-collaborator of Darren Aronofsky, contributes to the balance of the dreamlike and gritty, real atmospheres which entwine hypnotically.

This a movie about music, so it lives or dies by the soundtrack. Thankfully, the songs are great and do help in moving the story along. Lukas Nelson, son of Willie, and his band The Promise of the Real appear as Jackson Maine’s band. Nelson also served as Cooper’s ‘authenticity consultant’ and co-wrote the song Black Eyes. Lady Gaga co-wrote many of the film’s songs, including the signature track Shallow, a passionate, soaring duet.

Gaga’s hordes of little monsters across the world already know she’s talented, and while she has appeared in movies and on TV before, Gaga displays a side of herself we haven’t yet seen in this revelatory performance. While Lady Gaga has been an established pop star for a decade, she convincingly portrays a fresh-faced ingenue who undergoes a whirlwind transformation into a musical sensation. It’s an incandescent performance refreshingly free of vanity that lets Gaga showcase the full range of her artistry without coming off as self-indulgent.

Cooper’s performance as a shambling rock star who is a shadow of his former self is eminently sympathetic. We gradually learn bits of Jackson’s tragic back-story and through his heated interactions with manager/older brother Bobby, see how Jackson’s self-destructive tendencies wear on those around him. The character is constantly burning bridges and trying to put out the resulting fires. Cooper draws on his own struggles with substance abuse earlier in his career, making this a personal, raw performance. Cooper also has a lovely singing voice that’s very apt for the type of character he’s playing. Cooper cast his own (absolutely adorable) dog Charlie in the film.

The supporting cast, including comedian Andrew Dice Clay as Ally’s father Lorenzo and Dave Chappelle as Jackson’s friend Noodle, all bring authentic, endearing performances to the fore. Musical theatre star Anthony Ramos is a joyous presence as Ally’s friend and co-worker Ramon but doesn’t get to sing. Rafi Gavron’s Rez comes off as a little flat by comparison, the manager character being the most one-note.

While the palpable chemistry between the leads carries this a long way, A Star is Born does demand a level of suspension of disbelief. Ally’s meteoric rise through the industry is almost too good to be true, and we rarely see Jackson and Ally’s relationship from the outside – in real life, gossip and speculation from fans and the media is sure to weigh at least a little on the romance.

There are many moments when the movie veers too close to all-out melodrama – it seems like Gaga is willing to go there, while Cooper reins things in. Co-writer Will Fetters’ credits include the syrupy Nicholas Sparks adaptations or Sparks-esque romances Remember Me, The Lucky One and The Best of Me, and some vestiges of that remain. Eric Roth (Forrest Gump, Munich, The Curious Case of Benjamin Button) and Cooper rewrote Fetters’ initial draft. The movie’s ending plunges head-first into schmaltz, but by then, A Star is Born has earned the right to be shamelessly manipulative.

The rapturous reviews and deafening Oscar buzz are in danger of over-hyping A Star is Born by a little, but there is still plenty to admire. This is a film that will make audiences hungrily expect Cooper’s next directorial effort and Gaga’s next starring role. It’s a story that’s been told before, but this heady, emotional, heartfelt take on it proves that in the right hands, stars can indeed be reborn.

RATING: 4 out of 5 Stars

Jedd Jong

The Predator movie review

THE PREDATOR

Director : Shane Black
Cast : Boyd Holbrook, Trevante Rhodes, Jacob Tremblay, Olivia Munn, Sterling K. Brown, Keagan-Michael Key, Thomas Jane, Alfie Allen, Augusto Aguilera, Yvonne Strahovski, Jake Busey
Genre : Action/Sci-fi
Run Time : 107 mins
Opens : 13 September 2018
Rating : M18

The-Predator-posterHunting season has come around again: in the fourth instalment in the mainline series of Predator films, the galaxy’s deadliest killers have returned to earth to stalk their prey.

Quinn McKenna (Boyd Holbrook) is a former Army Ranger-turned mercenary who had a run-in with the alien species nicknamed ‘the Predator’ while on assignment in Mexico. Quinn salvages the Predator’s helmet and wrist gauntlet, which wind up in the hands of his young son Rory (Jacob Tremblay), unbeknownst to his mother Emily (Yvonne Strahovski). Rory has high-functioning autism, and decodes the Predator’s language, unwittingly summoning more Predators to earth.

The-Predator-Alfie-Allen-Keagan-Michael-Key-Thomas-Jane-Augusto-Aguilera-Boyd-Holbrook-Trevante-Rhodes

The authorities refuse to believe Quinn’s account, sending him to jail. Quinn is put on a bus with several other misfit veterans, including former Marine Nebraska Williams (Trevante Rhodes), Coyle (Keagan-Michael Key), Baxley (Thomas Jane), former Marine Lynch (Alfie Allen) and former Blackhawk helicopter pilot Nettles (Augusto Aguilera). The oddball bunch is waylaid when a Predator gets loose. Quinn and his new dysfunctional unit team up with biologist Casey Brackett (Olivia Munn). They must not only evade the Predators and ensure Rory’s safety, but also outrun government agent Will Traeger (Sterling K. Brown), head of the shadowy Stargazer operation.

The-Predator-slamming-guy

The Predator franchise has often had difficulty getting up and running. The original 1987 film is regarded well, while Predator 2 and the spin-off Predators have more or less gained cult movie status. With Prometheus and Alien: Covenant, the Alien franchise has gotten somewhat high-falutin’ with its philosophical musings. The Predator films have tended to embrace their B-movie roots, something which director and co-writer Shane Black keeps alive in this one.

Black was there from the beginning, having played Hawkins in the first film. He previously worked with co-writer Fred Dekker on Monster Squad. As is typical of Black’s work, there is an undercurrent of smartass-ness running through The Predator, with everyone quipping back and forth. At the same time, there’s a welcome scrappiness to the movie, which seems the right scale and doesn’t become as bloated or as production-line as it could’ve been.

The-Predator-Predator-unmasked

The Predator possesses a nervous energy about it, apt for a film in which the protagonists are being hunted. It is sometimes difficult to discern what’s going on in the action sequences, but there are several inventive chases and fights. Special effects suit designers Tom Woodruff Jr. and Alec Gillis of Amalgamated Dynamics Inc have worked on previous incarnations of the Predator, and there’s a welcome tactility to the creature that balances out the other parts of the film that rely more heavily on digital visual effects work.

The-Predator-Thomas-Jane-Keagan-Michael-Key-Boyd-Holbrook-Olivia-Munn

Dutch’s crew in the first film is one of the all-time great movie ensembles. Black puts an off-kilter spin on that by making the heroes of this film a collection of troubled, often-goofy outcasts. It’s as if the whole team has been Hawkins-ified, to varying degrees. They generate excellent chemistry, and the pairings of Holbrook and Rhodes, and Key and Jane yield results onscreen. There is the danger that the overall humorous tone might undercut the stakes, but there is enough grimness and gore to remind us of the mortal danger the characters are in.

The-Predator-Trevante-Rhodes-Olivia-Munn-Boyd-Holbrook

Boyd Holbrook has a laconic charm about him. While the Quinn character isn’t as charismatic as some of his cohorts, as the leader types in action movies are wont to be, Holbrook lends the part enough of a haunted quality and a devil-may-care vibe.

The-Predator-Jacob-Tremblay

The inclusion of a child with high-functioning autism is one of the film’s few concessions to schmaltziness. Jacob Tremblay of Room and Wonder fame does a fine job portraying a sensitive, gifted child, who is key to the fight against the Predators because of his ability to decipher their language. It’s a plot point that is handled with surprising finesse.

The-Predator-Olivia-Munn-1-small

Olivia Munn throws herself into the scientist role but can’t help but come off as the weak link. Maybe it’s just this reviewer, but she has a tendency to come off as unlikeable and isn’t quite convincing as either a biologist who has cracked the Predators’ genetic code or as a gun-toting badass.

Sterling K. Brown has a healthy amount of fun with his untrustworthy G-man character, while Keagan-Michael Key works overtime to steal the show, succeeding on many occasions. Jake Busey makes a cameo as Sean Keyes, the son of Peter Keyes, the character played by his father Gary in Predator 2.

The-Predator-Ultimate-Predator

The Predator has been described by other critics as “messy”, and while this reviewer will corroborate that, its messiness is not necessarily a bad thing – at least until the third act, which was hastily reshot after poor test screening results. There are moments when it feels like the story’s foundation is a little too flimsy to support some of the ideas at play, and there are also times when the wink-and-nod fanboy appeal gets in the way of the action and violence working on a visceral level. Its ending blatantly, clumsily begs for a sequel, but there’s enough in this instalment for long-time Predator fans and newcomers to the franchise to appreciate, if they can get on Black’s wavelength.

RATING: 3.5 out of 5 Stars

Jedd Jong

 

A Simple Favour movie review

A SIMPLE FAVOUR

Director : Paul Feig
Cast : Anna Kendrick, Blake Lively, Henry Golding, Ian Ho, Joshua Satine, Linda Cardellini, Jean Smart, Rupert Friend, Andrew Rannells, Bashir Salahuddin
Genre : Drama/Mystery/Comedy
Run Time : 117 mins
Opens : 13 September 2018
Rating : M18

Big secrets hide in a small town in this mystery thriller. Stephanie Smothers (Anna Kendrick) is a single mum who lives in the suburb of Warfield, Connecticut with her son Miles (Joshua Satine). She produces a mum-centric vlog, giving tutorials on cooking and craft projects. Her uncomplicated existence is upended when she befriends Emily Nelson (Blake Lively), whose son Nicky (Ian Ho) goes to school with Miles.

It seems like Emily has it all: a high-flying job as a PR executive for fashion mogul Dennis Nylon (Rupert Friend), an adorable son, and a dashing husband in the form of writer and lecturer Sean Townsend (Henry Golding). Emily asks a simple favour from Stephanie: to pick Nicky up after school and look after him. Two days go by without Stephanie hearing anything from Emily. Questions surrounding her disappearance begin to pile up, as Sean grows attracted to Emily and Emily is drawn into a web of sordid secrets and lies. What’s a regular mum vlogger to do?

A Simple Favour is based on the novel of the same name by Darcey Bell and is billed as a “stylish post-modern film noir”. The film rights to the book were snapped up even before its publishing. The film has been described as Gone Girl-esque, but there are many instances when it’s not quite clear what director Paul Feig was going for. Feig has helmed comedies like Bridesmaids, Spy and Ghostbusters (2016), so it’s natural to worry that his comedic instincts might intrude on the mystery thriller elements of the story. They do, and as a result, A Simple Favour is tonally quite weird.

The film’s weirdness does make it interesting – this reviewer spent most of the movie puzzling over how much of said weirdness was intentional, and how much was accidental. There are moments when the film obviously wants to be dark and dramatic, but it also comes dangerously close to a parody of the domestic mystery thriller subgenre. Theodore Shapiro’s score plays a big part in this: someone will utter a revelation, then there’ll be obvious low trembling strings to go with it.

To Feig and screenwriter Jessica Sharzer’s credit, the mystery is engaging, but we want to keep watching to find out what happens the same way clickbait works – “I shouldn’t click on this, but I do want to find out why Hollywood stop casting Brendan Fraser”. By the time we’re invested, the story goes all-out, full-on ridiculous, trucking out the most melodramatic of ‘deep dark family secret’ plot twists. It’s hard to say if this would’ve worked any better played dead straight.

Both Kendrick and Lively play exactly to type. Kendrick is endearing and silly as an over-eager, over-earnest mum who finds herself way in over her head. The character is renamed ‘Stephanie Smothers’ when her surname was ‘Ward’ in the book – Stephanie Smothers sounds so much sillier, so much more on-the-nose, conjuring up an image of cloying sweetness. It’s mainly a comedic performance, and that seems to lead where the rest of the film goes tonally. She brings much of her signature ‘adorkable-ness’ to bear, and it seems like it is by design that the character is out of place in a dark, lurid mystery thriller.

Lively’s Emily is an aggressive, confident, icy go-getter, decked out in ensembles that might make even Serena van der Woodsen envious. The dynamic between Emily and Stephanie, with the former completely dominating the latter, is what the plot turns on. Emily and her husband seem like the picture-perfect couple, but of course there’s trouble in paradise. There are times when like Kendrick’s performance, Lively’s veers too close to caricature.

Henry Golding’s casting in this is a pretty big deal – the film went into production before the release of Crazy Rich Asians, meaning there was buzz about him in Hollywood before that film became the hot-button movie it is now. In movies like this, the husband character in movies like this is either in on it, or just really stupid. This might only be Golding’s second movie, but it seems he already has a type he’ll be cast in – namely, handsome, charming and a little bit aloof. He’s not entirely convincing in some of the more dramatic scenes, but he does fit alongside the attractive leads.

The supporting characters all feel like they walked out of a comedy – Andrew Rannells plays one of the ‘mums’ who makes catty comments at Stephanie from the side-lines, while Rupert Friend plays Emily’s boss, a flamboyant style maven. Linda Cardellini shows up as a goth-punk artist who wears a Slayer t-shirt as she wields and paints knives.

A Simple Favour might not work on the level it was intended to, but while its extremely uneasy mix of comedy and sex-and-secrets-soaked mystery thriller results in it being silly, it also prevents the movie from being bland. Perhaps this would’ve worked better in the hands of someone who’s sensibilities were a bit more British, who could have brought more wicked brand of acid-dipped wit to the proceedings. As it stands, A Simple Favour is a curiousity that audiences might not love but should find interesting.

RATING: 3 out of 5 Stars

Jedd Jong

Peppermint movie review

PEPPERMINT

Director : Pierre Morel
Cast : Jennifer Garner, John Gallagher Jr., John Ortiz, Richard Cabral, Annie Ilonzeh, Jeff Hephner, Cailey Fleming
Genre : Action/Drama/Thriller
Run Time : 102 mins
Opens : 6 September 2018
Rating : NC16

In the regrettable Daredevil and the even more regrettable spin-off Elektra, Jennifer Garner played an assassin with vengeance on the mind. Is this action thriller, Garner is once again out to give those who have wronged her what’s coming to them, as kind of a gender-flipped Punisher.

Garner plays Riley North, a banker who lives in suburban L.A. with her husband Chris (Jeff Hephner) and young daughter Carly (Cailey Fleming). Riley’s life is brutally upended when her husband and daughter are murdered in a drive-by shooting. She identifies the shooters as drug cartel members, but the cartel has paid off officials in the courts and law enforcement; those responsible walk free. Riley is enraged, and sets about remaking herself into a one-woman army, hunting down and killing those who murdered her family and those who helped them get away with it. With LAPD officers Carmichael (John Gallagher Jr.) and Moises (John Ortiz) and FBI Agent Inman (Annie Ilonzeh) hot on her trail, Riley must evade the long arm of the law as she deals out her own fiery brand of justice.

Peppermint follows in a long line of revenge thrillers, and shares much in common with Death Wish, often thought of as the codifier of the subgenre. The poor reception garnered by the Bruce Willis-starring Death Wish remake earlier this year showed that as straightforward as movies like this might seem on paper, it takes finesse and savvy to execute them well. Peppermint wants to be a hard-boiled revenge movie like those Hollywood made in the 70s, but times have changed, and movies like this are expected to be more sophisticated in their handling of the themes. The Jodie Foster starrer The Brave One, also about a woman who survives a traumatic event and becomes a vigilante, attempted this but left a lot to be desired in its take on the morality of vigilante justice.

In most vigilante thrillers, we’re meant to root for the protagonist as they take matters into their own hands. To get us there, Peppermint employs emotionally manipulative tactics. The protagonist’s husband and daughter, leaving a carnival with peppermint ice cream in her hand, are gunned down in painful slow-motion, and all the family bonding scenes they share preceding that fateful moment are just set up for the death. We’re supposed to cheer Riley on as she blazes her path of vengeance, even as she acts sadistically. It’s too unpleasant to be much fun, and it seems like it wasn’t meant to be fun at all.

There’s a version of Peppermint that could have been an all-out bloody exploitation movie, enjoyable on a trashy level. Instead, director Pierre Morel, who also helmed Taken, seems intent on making it work on a dramatic level, which he struggles with. As such, while the action in Peppermint is sometimes intense, the movie is altogether grave and joyless, taking itself far too seriously. In both its premise and execution, Peppermint seems to be a movie that wants to be treated like a serious drama, instead of violent entertainment.

Much of the film hinges on Jennifer Garner’s performance, and it is nice to see her back in an action role, years after Alias, the afore-mentioned Daredevil and Elektra, and The Kingdom. Garner has mostly been in family movies as of late, so there’s a degree of satisfaction in seeing her go the full Sarah Connor. We’ve got to buy Riley as someone who transforms from regular career woman and mum to a hardened badass, and Garner puts effort into making that metamorphosis convincing. However, the movie still demands plenty of suspension of disbelief, and Garner’s central performance, strong as it is, is not enough to hold the whole thing together.

The other characters fall neatly into boxes: cop, gang member, husband, daughter, et. al. The movie isn’t too interested in fleshing anyone out, and while the villains of the film are shown committing despicable acts, they’re too nondescript to be compellingly threatening. Ortiz overacts a little as the harried cop, while John Gallagher Jr.’s performance as the cop who’s sympathetic to Riley is at least a little interesting.

Peppermint is an uncomplicated movie about a complicated topic. It wants to give the appearance of considering the implications of what it depicts but doesn’t really. Perhaps the current political climate in the U.S. mirrors that of the 70s to a certain degree, resulting in resentment of the status quo and frustration at the injustices that are a by-product of corruption and complacency. However, if we’re supposed to take a vigilante thriller seriously and really consider the questions it raises, it’s got to be more nuanced and less heavy-handed than Peppermint.

RATING: 2.5 out of 5 Stars

Jedd Jong