Ant-Man and the Wasp movie review

ANT-MAN AND THE WASP

Director : Peyton Reed
Cast : Paul Rudd, Evangeline Lilly, Michael Peña, Walton Goggins, Judy Greer, David Dastmalchian, Tip “T.I.” Harris, Bobby Cannavale,, Hannah John-Kamen, Abby Ryder Fortson, Randall Park, Michelle Pfeiffer, Laurence Fishburne, Michael Douglas
Genre : Action/Adventure/Science Fiction/Superhero
Run Time : 118 mins
Opens : 4 July 2018
Rating : PG

Fans of the Marvel Cinematic Universe have had a bit of time to recover from the earth-shattering events of Avengers: Infinity War. Scott Lang/Ant-Man (Paul Rudd) was noticeably missing from that film, and now we learn what he was up to while everyone else was tangling with Thanos.

After Scott made it back from the Quantum Realm at the end of the first Ant-Man film, Dr Hank Pym (Michael Douglas) believes that there’s a chance his wife Janet Van Dyne (Michelle Pfeiffer), who was lost in the Quantum Realm decades ago, might still be alive. Together with his daughter Hope (Evangeline Lilly), Pym tries to locate Janet and rescue her.

Meanwhile, Scott is under house arrest, after getting into big trouble during the events of Captain America: Civil War. Whilst evading FBI agent Jimmy Woo (Randall Park) and trying to be a good dad to Cassie (Abby Ryder Fortson), Scott returns to superheroics. He now fights alongside Hope, who’s inherited the mantle of the Wasp from her mother. They must fend off black market tech dealer Sonny Burch (Walton Goggins) and the enigmatic Ghost (Hannah John-Kamen), who can turn invisible and phase through solid objects. Scott can count on his ex-convict buddies Luis (Michael Peña), Dave (Tip “T.I.” Harris) and Kurt (David Dastmalchian) for help, though how much they actually help is up for debate.

We’ve all seen “fun” used as a descriptor for innumerable MCU movies. There’s no denying that Ant-Man and the Wasp is fun. It’s an unabashedly silly film packed with jokes and some inspired visual gags, and its tone is consistent with that of the first Ant-Man film. While something less intense is welcome in the wake of Infinity War, Ant-Man and the Wasp is often in danger of feeling a touch inconsequential – especially given what an impact Black Panther made earlier this year.

On paper, there’s nothing too wrong with Ant-Man and the Wasp, and it ticks all the boxes. The mission to rescue Janet from the Quantum Realm is a great premise for the sequel and has considerable emotional drive, yet there are times when the film feels no more than perfunctory. The pacing is good, and the movie feels shorter than its 118 minutes, but it seems like it’s scurrying from Point A to Point B. Plenty of jokes land, but some of the humour is a little forced, and Luis and co. feel like they’ve been shoehorned in.

Where Ant-Man and the Wasp excels is in its set-pieces. The film makes inventive use of the mass-shifting conceit, and director Peyton Reed seems to have gotten bolder in staging said set-pieces. The choreography of how the titular heroes work in tandem is dazzling. There’s a kitchen fight in which Wasp dodges a meat mallet, and a car chase down San Francisco’s Lombard Street involving a shrinking van – this could be an homage to The Dead Pool, in which Dirty Harry is pursued through the streets of San Francisco by a radio-controlled toy car. It’s a great example of a comic book film creatively exploiting its characters’ abilities.

This film leans a little more into retro sci-fi with its Fantastic Voyage-esque micro submersible and more appearances from giant ants. Christophe Beck’s score also employs a bit more of a brassy big band sound, evoking spy-fi of yore.

Rudd’s everyman who’s fallen on the wrong side of the tracks continues to be endearing, and the film tries to give Scott some character growth, though there’s not too much to be had. The scenes that Scott shares with his daughter are on the right side of twee. Scott is the regular dude among geniuses, and Rudd plays off Lilly and Douglas well.

Lilly relishes the chance to partake in the superhero action this time around, and the Wasp’s abilities are impressively realised. Hope clearly knows what she’s doing, and there’s a precision to her fighting style and movements that Scott never quite possessed. Hope has been waiting her whole life for this and is in her element, and it’s gratifying to see her fulfil her destiny as the Wasp.

Douglas gets to be a little more active in this one than in the first Ant-Man film, but he’s still mostly there to be crotchety. The relationship between Pym and Janet is sufficiently established. By necessity, Michelle Pfeiffer doesn’t get to be in this one a lot, though it’s hard not to wish she had more screen time.

There’s half a good idea here with Ghost. The appearance and abilities of the character from the comics is used, but everything else about her is created for the film. Ghost is in a constant state of flux, confused and angry, and is a formidable opponent to our heroes. She’s no Thanos or Killmonger, but she’s an adequate villain for this film.

Walton Goggins plays a standard-issue Walton Goggins character, supremely untrustworthy and grinning as he goes after what he wants. Randall Park is funny as the dogged FBI agent who tries to keep Scott under his thumb, and hopefully he goes on to be a badass secret agent like the Jimmy Woo of the comics. Fishburne is reliable as Professor Bill Foster, who had a falling out with Pym when they were colleagues.

Ant-Man and the Wasp is a trifle, but it’s an entertaining, well-made trifle. Not every MCU movie needs to upend the status quo, and Ant-Man and the Wasp is quite comfortable being the silly thing it is. While the movie has welcome tricks up its sleeve with the further integration of mass-shifting into the action sequences, it can sometimes feel like we’re just watching the first one again.

Stick around for a mid-credits scene and a post-credits stinger.

RATING: 3.5 out of 5 Stars

Jedd Jong

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Jurassic World: Fallen Kingdom review

For inSing

JURASSIC WORLD: FALLEN KINGDOM

Director : J.A. Bayona
Cast : Chris Pratt, Bryce Dallas Howard, Rafe Spall, Justice Smith, Daniella Pineda, James Cromwell, Isabella Sermon, Toby Jones, Ted Levine, B.D. Wong, Geraldine Chaplin, Jeff Goldblum
Genre : Action / Adventure / Sci-fi
Run Time : 128 mins
Opens : 7 June 2018
Rating : PG-13

Just as life finds a way, so has the Jurassic Park franchise. There was a 14-year break between Jurassic Park 3 and Jurassic World, but the response to the latter showed audiences were hungry for more dinosaur mayhem. Jurassic World grossed $1.6 billion worldwide and became the second-highest-grossing film of 2015, making a follow-up inevitable.

Three years have elapsed since the events of the last film. The Jurassic World theme park lies in ruins on Isla Nublar, off the coast of Costa Rica. An impending volcanic eruption threatens the remaining dinosaurs who roam free on the island. Claire Dearing (Bryce Dallas Howard), former Jurassic World operations manager-turned dinosaur activist, has founded the Dinosaur Protection Group to save Isla Nublar’s Saurian inhabitants.

Claire is contacted by Eli Mills (Rafe Spall), the executor of Sir Benjamin Lockwood’s (James Cromwell) estate. Lockwood was the partner of the late John Hammond, creator of the original Jurassic Park. Mills needs Claire’s help to facilitate the evacuation of the island. Blue, the last Velociraptor, is still alive. Claire ropes in Owen Grady (Chris Pratt), the dinosaur handler who raised Blue, to help locate her. Claire’s employees at the Dinosaur Protection Group, paleo-veterinarian Zia Rodriguez (Daniella Pineda) and systems analyst Franklin Webb (Justice Smith), join the mission too. Owen and Claire soon find themselves entangled in a nefarious conspiracy that could throw the world as we know it into irreversible chaos.

Jurassic World: Fallen Kingdom comes extremely close to blockbuster perfection. Hiring J.A. Bayona proves to be a canny move on the producers’ part. The filmmaker kickstarted his career with the Spanish horror movie The Orphanage and made the disaster drama The Impossible and the dark fantasy fable When a Monster Calls. This is by far the largest project he’s presided over, and he worked closely with the previous film’s director Colin Trevorrow and producer Steven Spielberg, who directed the first two Jurassic films. The result is distinctly atmospheric, with an emphasis placed on scenes of sustained tension, without sacrificing the grand spectacle audiences come to these movies for.

Trevorrow co-wrote the screenplay with Derek Connolly, and they’ve devised a great reason to return to Isla Nublar. At first, the story seems like a re-tread of The Lost World: Jurassic Park, complete with paramilitary personnel rounding up the surviving animals and Ted Levine as a grizzled big-game hunter. Then, the movie swerves in an interesting direction, one which the trailers have misdirected us away from.

The film is paced marvellously, packing in action – and more importantly, action with some variety to it. It’s a given that most of the characters will spend a lot of time running away from dinosaurs. There’s that, to be sure, but there are also creepy, well-staged moments steeped in shadows and incorporating a sense of claustrophobia that are exceedingly effective.

Several of the dinosaurs possess enough personality to be accepted as characters. Blue’s bond with Owen is further developed, and both she and the T. rex get their share of ‘hero’ moments. Animatronic effects are used more than they were in the preceding film. Neal Scanlan, the creature effects supervisor for the recent Star Wars films from The Force Awakens onwards, oversees the practical dinosaur effects. He and his team have done excellent work, and the computer-generated visual effects are a notch above those seen in the previous film too. There’s even physical comedy courtesy of a rambunctious Stygimoloch.

The film is at its best when it echoes and builds upon the themes inherent in the first film and the source novel by Michael Crichton. The manmade dinosaurs could be viewed as an affront towards nature, with nature now reclaiming itself by way of the volcanic eruption. Hammond and Lockwood opened Pandora’s Box, and there’s no coming back from that. Jeff Goldblum’s Ian Malcolm pops up in a cameo reiterating his initial fears of the implications resurrecting dinosaurs would have. These creatures were intended as theme park attractions, which seems innocent enough, but the applications for this technology were never going to stop there. The film tackles this in a slightly deeper, headier way than one might expect from summer popcorn entertainment.

Owen and Claire are good people who have unwittingly been used by bad people for their own ends. Both characters seem less like the broad caricatures they were presented as in the previous film, giving Pratt and Howard more to work with. Owen and Claire grapple with their involvement in Jurassic World, and how much of the chaos that unspools in this film is their fault. They also find themselves in the thick of the action and have so many near-misses that they come across as at least a little superhuman.

Some of the new characters are played a little too broadly, especially Justice Smith’s anxious tech expert. The human villains aren’t dimensional enough and have straightforward, avaricious motivations.

The new addition to the cast that stands out is Isabella Sermon, who plays Lockwood’s precocious granddaughter Maisie. Beyond being the requisite imperilled child each of these movies must have at least one of, she becomes integral to the plot and protecting her gives Owen and Claire a secondary objective.

The new dinosaur being highlighted is the Indoraptor, following in the clawed footsteps of the previous film’s Indominus rex. Just as the Velociraptors have generally been scarier than the T. rex in previous Jurassic films, the vicious Indoraptor is considerably more menacing than the Indominus rex, proving a formidable foe for our heroes, human and dinosaur alike.

Jurassic World: Fallen Kingdom is the best film in the series since the first. It packs in all the exhilarating theme park ride-thrills we expect from the series, while attempting to bring the moral and ethical quandaries at the heart of the premise back to the surface. The film is a satisfying experience, while naturally leaving the door open for a sequel. Stick around past the credits for a fun little stinger scene.

RATING: 4.5 out of 5 Stars

Jedd Jong

Solo: A Star Wars Story review

For inSing

SOLO: A STAR WARS STORY

Director : Ron Howard
Cast : Alden Ehrenreich, Woody Harrelson, Emilia Clarke, Donald Glover, Thandie Newton, Phoebe Waller-Bridge, Joonas Suotamo, Paul Bettany
Genre : Action / Adventure / Fantasy
Run Time : 135 mins
Opens : 24 May 2018
Rating : PG (Some Violence)

            Before he was the gun-slinging scoundrel who always shoots first, he was young, scrappy and hungry. This is the man we meet in Solo: A Star Wars Story.

Han Solo (Alden Ehrenreich), a street urchin from the backwater planet of Corellia, enlists in the Imperial forces with dreams of becoming a pilot. Stuck in the infantry, Han chances across a group of smugglers and sees a way out. He ingratiates himself with the group’s leader Tobias Beckett (Woody Harrelson) and becomes acquainted with the Wookiee Chewbacca (Joonas Suotamo). Han finds himself entangled in a web of warring crime syndicates as he sets off on a mission to steal a shipment of the valuable and highly volatile fuel Coaxium.

Tobias and his crew must deliver the Coaxium to the dangerous crime lord Dryden Vos (Paul Bettany), head of the Crimson Dawn syndicate. Along the way, Han runs into his boyhood sweetheart Qi’ra (Emilia Clarke), who has fallen in with some unsavoury characters. Han also crosses paths with the dashing smuggler Lando Calrissian (Donald Glover) and sets his heart on acquiring Lando’s beloved ship. As he launches head first into adventure, Han takes his first steps into a larger world.

Solo: A Star Wars Story has mainly been greeted with cynicism. You’ve probably heard murmurs about how this is an unnecessary endeavour, or how Disney is milking its cash cow. Look at it this way: the Star Wars galaxy is a vast playground for filmmakers to explore. It makes sense that the first anthology movies, Rogue One and Solo, cover not entirely untrodden ground, before future instalments branch off into further reaches and farther away from what we’re familiar with.

Brian Daley’s Han Solo Adventures book trilogy and Ann C. Crispin’s Han Solo Trilogy explored Han and Chewie’s adventures before meeting Luke and Obi-Wan. A movie covering similar ground seems logical enough.

This film has had a rocky journey to the screen, with initially-hired directors Phil Lord and Chris Miller fired and then replaced with Ron Howard. Yes, it’s tempting to imagine what might have been, but all things considered, Solo does not feel like a movie that was taken apart and hastily reassembled. It might not work as tightly as Rogue One, which similarly underwent reshoots under a different director, but Solo hangs together well enough.

The general criticisms about Solo, in addition to how its existence is not exactly vital, are that Alden Ehrenreich doesn’t match up to Harrison Ford and that the movie is formulaic and going through the motions. We’ll get to the leading man in a moment. This reviewer will argue that being formulaic is not a bad thing if the result is entertaining, and Solo is supremely entertaining. After all, the Star Wars movies are often formulaic, following patterns established in mythology and storytelling across the ages. This is a movie that hits the ground running, is bursting with energy, and while there are times when it seems like a corporation-mandated product, there is a bit of welcome eagerness and scrappiness to it.

Like Rogue One before it, Solo works to bridge the Prequel and Original trilogies, with references to characters and events from both. Solo feels tactile and lived-in, with our characters visiting various dusty, windy, grimy, muddy locales. The creature effects are supervised by Neal Scanlan, who worked on The Force Awakens, Rogue One and The Last Jedi. There is a reliance on puppets and prosthetics, and while there are computer-generated or enhanced creatures and sets, nothing in Solo feels entirely synthetic.

The set pieces are executed well and are generally enjoyable. There’s a daring train heist which is genuinely pulse-quickening sequence, and we get to see Solo and co. undertake the risky Kessel Run. Just as with Rogue One, this reviewer was initially worried that Solo “wouldn’t feel like Star Wars”. To us at least, it does. The design elements could’ve done with a little more creativity, though.

Solo’s narrative must hit certain mile markers and portray all the important moments that made him who he is. Despite this requirement, it never feels like things are on autopilot. Howard has been decried as a “safe” choice, but there’s still liveliness and humour to the proceedings. This does not come across as a movie that was narrowly plucked from the jaws of death, limping into theatres.

Few people are going to give Ehrenreich a fair shake. The actor visibly tries his best to capture the essence of the iconic scoundrel, and while he’s not Harrison Ford (because really, who else is?), he’s better than most will give him credit for. Ehrenreich is not effortlessly cool, but that works here, because we’re meeting a Han who is finding his footing and who has yet to be moulded into the man audiences know him as. He’s about on par with Sean Patrick Flanery, who portrayed a younger version of that other popular Harrison Ford character in The Young Indiana Jones Chronicles.

Woody Harrelson plays the mentor figure with a trick or two up his sleeve, and the Tobias character plays very much to Harrelson’s strengths. It’s nothing we haven’t seen from Harrelson, but it makes sense that this is the guy that taught Han Solo much of what he knows.

Donald Glover is a fantastic Lando – vain, charismatic, smooth and owner of a walk-in closet filled entirely with capes. There’s a subtle inflection that is very reminiscent of Billy Dee Williams without feeling like an SNL impersonation, and there’s just enough of Lando in this that this reviewer wants to see what else Glover can do with the role.

The supporting characters introduced in this film are not as memorable as those in Rogue One, but still fit well within the narrative. Emilia Clarke is fine as Qi’ra and there are times when this reviewer was really hoping she and Han would end up together, before realising that it’s a foregone conclusion that they won’t. Since The Force Awakens and Rogue One both cast young English brunettes in the lead, perhaps a leading lady who’s a little different from that mould would have been a little more interesting.

Suotamo does a lot of physical work as Chewie, and the film’s depiction of how Han and Chewie meet is an absolute hoot and one of the best moments of the film.

Bettany’s crime lord is archetypical but still sufficiently commanding. The character was intended to be an alien played by Michael K. Williams, and the character was reworked and recast when Williams was unable to make the reshoots.

Alas, Thandie Newton is criminally underused, and what seems like an interesting character isn’t given much to do.

There’s joy to be found in Star Wars movies that are layered and philosophical, but there’s also joy to be found in a straightforward, exhilarating adventure, which Solo is to a tee. There are flaws, there are places where it could’ve been a little wilder and freer, but as a detour from the main series, it has its charm.

RATING: 4 out of 5 Stars

Jedd Jong

 

Avengers: Infinity War review

For inSing

AVENGERS: INFINITY WAR

Directors : Anthony and Joe Russo
Cast : Robert Downey Jr, Chris Hemsworth, Mark Ruffalo, Chris Evans, Scarlett Johansson, Benedict Cumberbatch, Don Cheadle, Tom Holland, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Anthony Mackie, Sebastian Stan, Tom Hiddleston, Idris Elba, Peter Dinklage, Benedict Wong, Chris Pratt, Zoe Saldana, Pom Klementieff, Karen Gillan, Dave Bautista, Vin Diesel, Bradley Cooper, Gwyneth Paltrow, Benicio del Toro, Josh Brolin
Genre : Action/Comics
Run Time : 2h 29m
Opens : 25 April 2018
Rating : PG13

We’re going to do things a little differently.

Going into Avengers: Infinity War, you’ve been told to avoid spoilers like the plague, and yet, we want you to read this review, which will be spoiler-free.

This will be a review, and yet not a review. We’re hoping that you’ll read this, but if you don’t wanna, that’s fine.

We’ll say it up front: this is a particularly tricky movie to write a spoiler-free review of, but we’ll give it the best shot we’ve given anything.

Marvel has hyped Avengers: Infinity War as the most ambitious crossover event staged in entertainment media. They’re not wrong. No matter which way you look at this movie, it’s tricky to put together. It’s a puzzle with the pieces constantly moving.

Even with Captain America: The Winter Soldier and Captain America: Civil War under the Russo brothers’ belts, there are still many times during Infinity War when one is wont to wonder aloud “how did the guys from Arrested Development and Community get here?” This is a film with a sprawling scope, even for a genre which is all about scope. The Russo brothers, with the in-built support at Marvel Studios, do a commendable job of wrangling it all.

This reviewer would love to have been a fly on the wall while the Russo brothers and screenwriters Christopher Markus and Stephen McFeely were hammering this out. Imagine all the iterations, all the bits and pieces that maybe didn’t quite work, before we got here.

This year marks the tenth anniversary of the Marvel Cinematic Universe. A studio hasn’t quite been able to announce to the audience “right, you should’ve seen all 18 of these movies, or at least most of them, before you watch this. Off you go, then.” Not even long-running franchises like the Bond movies, Star Wars, or Harry Potter can really demand that, and know that most audiences would have fulfilled that demand. There’s a swaggering confidence about Infinity War, and yet it’s not off-putting or self-congratulatory. If anything, Marvel Studios is deliberately making things really difficult for themselves going forward.

Over the years, the MCU has garnered its fair share of detractors. There are purists, there are ardent fanboys who have fixated on one niggling aspect or another that dissatisfied them, there are those who loyally back the other team (this reviewer has been accused of being both paid off by Disney and being biased towards DC movies), there are those who say it’s all too funny and nothing is taken seriously enough. Depending on the context, some aspects of these criticisms are valid, but it’s important to take a step back and consider all the myriad hurdles that the people making these films have cleared to get here.

At the core of Infinity War is a MacGuffin hunt that has spanned multiple movies, with so much being set up in previous instalments, leading up to this. The film takes inspiration from the Infinity Gauntlet comic book arc in 1991, written by Jim Starlin, and the 2013 Infinity crossover event, written by Jonathan Hickman. Infinity War is the culmination of intergalactic warlord and ‘mad titan’ Thanos’ (Josh Brolin) search for the Infinity Stones. We’ve seen five of the six stones in previous movies, and he’s looking to collect them all.

This is a quest that has attendant consequences and sacrifice, and from the beautifully staged, dramatic and grave opening scene onwards, viewers have a good idea of what to expect. There are plenty of jokes, but unlike in previous MCU movies, this reviewer felt less of a sense that said jokes were stepping on the dramatic beats.

This reviewer wasn’t the biggest fan of Civil War, because there was noticeable bloat and the central conflict didn’t really get enough room to breathe. Weirdly enough, that seems like less of a problem here. Clocking in at 149 minutes and costing an estimated $300-400 million, it seems a foregone conclusion that Infinity War would be more bloated than a beached whale, but it moves with great finesse.

Infinity War could easily have come off as a string of unrelated set-pieces. It’s evident that this was not constructed by devising the set-pieces first, with the plot being filled in around those. Our massive ensemble is handily organised into groups, with said groups meeting and then diverging as the story progresses. The groups all make sense, and there is considerable time dedicated to reinforcing and evolving existing relationships.

The romance between Wanda Maximoff/Scarlet Witch (Elizabeth Olsen) and Vision (Paul Bettany) elicited the most emotion out of this reviewer. The Guardians of the Galaxy team up with Thor (Chris Hemsworth), and we delve a little deeper into the relationship between Gamora (Zoe Saldana) and her estranged adoptive father Thanos.

It seems like Markus and McFeely really enjoyed writing the Guardians, nailing the voices of each character. There’s a consistency which feels organic and yet must’ve been challenging to achieve. Tony Stark/Iron Man (Robert Downey Jr) and Doctor Strange/Stephen Strange (Benedict Cumberbatch) butt heads and egos, while Bruce Banner (Mark Ruffalo) faces more struggles in getting control of his alter ego, the Hulk. A good portion of the film is set in Wakanda, which in Black Panther, has just opened itself to the outside world, its people getting more than they bargained for here.

It wasn’t really that long ago when we thought we’d never see Peter Parker in the MCU, so it’s a genuine thrill to see Holland’s Spider-Man interact with so many characters and feel like he was always meant to be in this line-up.

Thanos feels like an actual character rather than just an obstacle our heroes must overcome. We get just enough back-story and there is respectable gravity to the proceedings. There’s a lot of fantastic acting on display from everyone involved. This is not a movie in which the spectacle does all the legwork.

Avengers: Infinity War is a staggering work of virtuosic audacity. Its filmmakers play the audience like a fiddle. The ending is either a howl-inducing gut punch or sheer genius – maybe both at once. You’re probably going to be frustrated at some point or another, but there will be gasps, there will be cheers, there will be laughter, and depending on how fragile the audience at your screening is, there might be open sobbing.

Given the nigh-insane parameters the filmmakers were working within, Avengers: Infinity War is the best movie it could’ve been.

RATING: 4.5 out of 5 Stars

Jedd Jong

Rampage movie review

For inSing

RAMPAGE

Director : Brad Peyton
Cast : Dwayne Johnson, Naomie Harris, Malin Åkerman, Jake Lacy, Joe Manganiello, Jeffrey Dean Morgan, Marley Shelton
Genre : Action/Sci-fi
Run Time : 1h 47m
Opens : 12 April 2018
Rating : PG13

Rampage-posterDwayne Johnson, arguably the closest thing this generation has to 80s action heroes like Sylvester Stallone and Arnold Schwarzenegger, shares the screen with monsters who dwarf even him in this creature feature.

Johnson plays Davis Okoye, an Army Special Forces soldier-turned primatologist working at the San Diego Wildlife Sanctuary. George, an albino silverback gorilla with whom Davis shares a close bond, begins growing and displaying violent, erratic behaviour. George has come into contact with a mutagen developed by Energyne, after a genetic splicing experiment conducted aboard a space station goes horribly awry.

Rampage-header

Geneticist Dr Kate Caldwell (Naomie Harris), a former Energyne employee, arrives to help Davis deal with George’s mutation. In the meantime, a wolf and an alligator have also been exposed to the mutagen. As the creatures become ever fiercer, government agent Harvey Russell (Jeffrey Dean Morgan) attempts to control the situation, while butting heads with Davis and Kate. The pair must foil the dastardly plans of Energyne’s head honchos Claire Wyden (Malin Åkerman) and her doltish brother Brett (Jake Lacy), who draw the creatures to Chicago where they will wreak untold havoc.

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Rampage is based on the classic arcade game of the same name. In the original game, players controlled one of three mutated, formerly-human monsters, causing as much destruction as possible to proceed to the next level. There was not much in the way of plot, and there didn’t need to be.

Rampage-Lizzie

The plot in the Rampage movie serves little purpose other than to fill time and justify the giant monster action sequences. The film reunites Johnson with Brad Peyton, who directed him in Journey 2: The Mysterious Island and San Andreas. Like San Andreas, there is plenty of disaster movie mayhem on display in Rampage, but while it was a little uncomfortable watching that movie right after the 2015 Nepal earthquakes, the wanton destruction is easier to enjoy in Rampage, given that there haven’t been any giant gorilla, wolf and alligator attacks in major metropolises lately.

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The visual effects work, especially on George, portrayed via motion capture by Jason Liles, is excellent. When the giant monsters are onscreen, which is the case for a significant portion of the film, things are entertaining and silly. There are some violent moments which push the PG-13 rating and it’s hard not to derive some joy from that. Even then, the city-levelling climactic action sequence can get a little numbing. Anything involving our human characters is tedious, thanks to stock back-stories and cringe-worthy exposition-laden dialogue. “It’s going to be a lot more emotional, a lot scarier and a lot more real than you’d expect,” Peyton said of the film when it was announced. Alas, Rampage is none of those.

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Dwayne Johnson delivers the performance one would expect: that of the charismatic, larger-than-life action hero who’s here to save the day. It’s nothing different from what we’ve seen before, but it gets the job done and he’s good at this stuff. Davis shares quite a bit in common with Jurassic World‘s Owen Grady: they’re both former military men who work with dangerous animals and have bonded with one creature under their care. Johnson tries to sell the relationship between Davis and George, and while that is never emotionally affecting, Johnson can’t be faulted for it.

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Harris’ Dr Kate Caldwell comes complete with a groan-inducing motivation for getting back at the company that’s done her wrong. Harris tries to make the material work, but the film seems to struggle with figuring out what purpose her character serves for most of the movie.

Rampage-Malin-Akerman

Rampage is at its cheesiest not during the monster attack sequences, but when it turns its attention to the villainous Wyden siblings. Claire is coolly evil while her brother bumbles about in the background. While both Åkerman and Lacy look to be enjoying themselves, neither is ever actually threatening, and the cartoonish nature of their performances undercuts the stakes of the monster madness.

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Jeffrey Dean Morgan drawls his way through a reasonably fun supporting part as a shadowy government agent, while Joe Manganiello shows up very briefly as a private military contractor. Everyone’s playing to type, and Rampage contains frustratingly little in the way of surprises or spontaneity.

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Nobody can accuse Rampage of not delivering the all-out giant monster goods, but the movie stops considerably short of being the expertly-made escapism it could’ve been. There’s a tonal struggle between being ridiculous and being earnest that Peyton lacks the skill to reconcile. Rampage doesn’t take itself too seriously at all, but its clumsy attempts at emotional beats and its predictable, store-bought monster movie plot stand in the way of it being truly entertaining.

RATING: 2.5 out of 5 Stars

Jedd Jong

The Titan movie review

For inSing

THE TITAN

Director : Lennart Ruff
Cast : Sam Worthington, Taylor Schilling, Tom Wilkinson, Agyness Deyn, Nathalie Emmanuel, Diego Boneta, Noah Jupe
Genre : Sci-fi
Run Time : 1h 37m
Opens : 5 April 2018
Rating : NC16

In 2009’s Avatar, Sam Worthington played a man who transfers his consciousness into an alien body. In this sci-fi thriller, Worthington turns into an alien-like being again, albeit under different circumstances.

It is 2045, and mankind is forced to find new means of survival. Overpopulation and environmental destruction have doomed earth. Professor Martin Collingwood (Tom Wilkinson) has devised a revolutionary new procedure which will alter the genetics of test subjects, changing their physiology so they can live on Titan, Saturn’s largest moon. Collingwood believes that this “forced evolution” is the future of humanity.

Former soldier Rick Janssen (Sam Worthington) is one of the test subjects in the Titan program. Together with his wife Abigail (Taylor Schilling) and son Lucas (Noah Jupe), Rick moves to a research facility where he will undergo the transformation into a new species adapted to life on Titan. Unexpected side effects begin to occur, with the other test subjects turning uncontrollably violent. Abigail realises that she hasn’t been told everything about what exactly will happen to her husband and must face the horrifying reality that this terrifying leap forward in evolution might just be the end of humanity as we know it.

In Singapore, The Titan is being released on Netflix and in theatres. Smaller-scale sci-fi films have always fascinated this reviewer – it’s fun to see how filmmakers circumvent budgetary restraints and tap on their creativity to convincingly create world with limited resources.

The Titan has an intriguing premise and establishes it with a degree of plausibility. The production values pass muster, and the film benefits from the picturesque shooting location of the Canary Islands in Spain. The film has a slow build and there is a sense of dread as to what unexpected mutation lies around the corner for Rick. Towards the end, it enters action movie mode, and that’s when the movie feels a little clumsy and not fully realised.

The theme of man playing god has often fascinated filmmakers, and while The Titan stays a safe distance from schlocky silliness, its exploration of this theme lacks depth. The wider social implications of this type of genetic experimentation don’t quite take hold. Director Lennart Ruff, working from a screenplay by Max Hurwitz (with Arash Amel receiving a ‘story by’ credit), attempts to put the focus on the characters rather than the technical aspects of the procedure. Unfortunately, the characters aren’t especially interesting.

Sam Worthington seemed destined for A-list stardom after the success of Avatar, and while that has eluded him, he’s continued working steadily in smaller projects. Rick is a rather generic hero and the movie doesn’t get far enough into his head for us to appreciate the inner torment he experiences as he undergoes the procedure. It’s not a bad performance, but it could’ve been more affecting.

Taylor Schilling’s Abigail is a paediatrician, and she has a more proactive role in the story than most designated love interests in films of this type do. Thanks to her medical expertise, she can tell that’s something is amiss, and takes it upon herself to find out just what is happening to her husband. The film’s most emotional moments are when we see Abigail process that her husband is being taken from her bit by bit.

Wilkinson lends gravitas and dutifully delivers exposition, but by the end of the film, Dr Collingwood emerges as a rather one-dimensional character.

The other test subjects, who are played by actors including Nathalie Emmanuel, Diego Boneta and Aaron Heffernan, aren’t given huge amounts of character development. The fates that befall the less fortunate test subjects are shocking enough but aren’t quite as horrific as body horror movie aficionados have come to expect. The film’s restraint in not falling back on over-the-top gore is admirable.

The Titan isn’t bad, it’s just one of those films that sounds more interesting on paper than it winds up being. As a smaller scale sci-fi film, The Titan doesn’t take its premise far enough to truly capture the imagination but is unique enough to warrant curiosity.

RATING: 3 out of 5 Stars

Jedd Jong

Ready Player One movie review

For inSing

READY PLAYER ONE

Director : Steven Spielberg
Cast : Tye Sheridan, Olivia Cooke, Ben Mendelsohn, Lena Waithe, T.J. Miller, Simon Pegg, Mark Rylance, Philip Zhao, Win Morisaki, Hannah John-Kamen
Genre : Sci-fi, action
Run Time : 2h 20m
Opens : 29 March 2018
Rating : PG13

This Easter, several faith-based films are being released, including I Can Only Imagine and Paul, Apostle of Christ. This movie is about an Easter Egg hunt of epic proportions, with none other than Steven Spielberg as our guide.

It is 2045, and teenager Wade Watts (Tye Sheridan) lives in ‘the Stacks’, a shantytown outside Columbus, Ohio. Like millions of other people around the world, he escapes the drudgery of life by entering a virtual reality realm known as the OASIS (Ontologically Anthropocentric Sensory Immersive Simulation), where he is known as Parzival. His best friend within the sprawling game is Aech (Lena Waithe), who runs a virtual garage.

James Donovan Halliday (Mark Rylance), who created the OASIS with his former partner Ogden Morrow (Simon Pegg), has passed away. Halliday has created an Easter Egg hunt – the Easter Egg Hunter (Gunter for short) who finds three keys will inherit Halliday’s fortune of half a trillion dollars, and full control of the OASIS. Wade teams up with Aech, Art3mis (Olivia Cooke), Sho (Philip Zhao) and Daito (Win Morisaki) to complete this epic quest.

Their main opponent: the Sixers, an army of Gunters indentured to Innovative Online Industries (IOI). The company’s greedy CEO Nolan Sorrento (Ben Mendelsohn) has effectively enslaved players indebted to the company and wants control of the OASIS himself. It’s up to Parzival and company to beat Sorrento to the prize.

Ready Player One is based on the novel of the same name by Ernest Cline. This is the ultimate geek power fantasy – what if one’s knowledge of pop culture ephemera could actually be used to gain a fortune and save the world?

At its heart, this is a hero’s journey, and the mechanics of the plot are not unlike that of many Young Adult novels with ‘chosen one’ plots. What makes Ready Player One more than the sum of its innumerable references is director Spielberg. Working from a screenplay adapted by Cline and Zak Penn, Spielberg infuses the film with energy, wide-eyed imagination and sheer awe-inspiring spectacle.

Spielberg works in one of two modes: ‘fun Spielberg’ and ‘serious Spielberg’. We saw ‘serious Spielberg’ this past awards season with The Post. While many ‘serious Spielberg’ movies are masterpieces, this reviewer always prefers ‘fun Spielberg’. The self-confessed video game enthusiast gets to indulge his inner gamer, fashioning a dizzying virtual world bursting with detail and lots of existing characters for audiences to point at the screen and recognise.

Ready Player One comments on nostalgia, escapism, and the power of pop culture in shaping our world. Much of Spielberg’s filmography inspires nostalgia, trades in escapism, and he is one of the premiere forces in shaping modern pop culture. Spielberg omitted the overt references to his own oeuvre found in the book, fearing it would come off as too self-indulgent. It feels like no one else could have made this movie, and even over 40 years after inventing the modern blockbuster with Jaws, Spielberg’s still got it. There are times when Ready Player One feels like it’s pandering to its geek target audience, but that’s inherent in the source material. There’s a pleasure in knowing that a filmmaker as exalted as Spielberg demonstrably is a geek at heart.

Of special note among the surfeit of references is a sequence which draws heavily on Stanley Kubrick’s adaptation of The Shining. This is a delightful tribute to the late filmmaker, who was originally set to direct A.I.: Artificial Intelligence. Spielberg took over after Kubrick’s death.

The staggering scope of the OASIS is effectively conveyed. It feels like a world which would demand nothing less than complete devotion, and it’s therefore easy to buy the idea that people’s lives have been ruined in the pursuit of credits in-game. The visual effects, supervised by Roger Guyett and supplied by vendors including ILM and Digital Domain, are expansive and astounding. Credit also goes to special projects supervisor Deidre Backs, whose job it was to clear licenses to the myriad properties referenced in the film.

Spielberg’s regular composer John Williams dropped out of scoring this film to work on The Post. In his stead is Alan Silvestri, who seems like the best possible replacement for Williams. Silvestri pays homage to his iconic score for Back to the Future with rousing, melodic music.

The characters are all archetypical, but because of the storytelling device of the video game, that’s more than justified. Tye Sheridan’s Wade is a sometimes-dopey geek, a nobody in the real world but a somebody in the OASIS. He’s very much a wish fulfilment figure, but Sheridan is never annoying in the role.

Cooke’s Art3mis is a typical action girl, and the attempt at portraying the vulnerabilities that lie beneath that surface are sometimes clumsy. Cooke is poised to be the next big thing and is often more interesting than Sheridan. The romance is almost absurdly underdeveloped, undercutting Art3mis’ agency in the story somewhat.

Waithe is fun as the stock best friend character, while the two Asian characters seem to be only there so they can do martial arts. The supporting characters don’t get too much development, but that’s a function of the structure, so it’s easy to forgive.

Mendelsohn has found a niche playing middle management supervillains, and Sorrento is squarely in his wheelhouse.  It’s an entertainingly smarmy performance that’s the right side of hammy.

Rylance, Spielberg’s new muse, delivers a deeply affecting performance as misunderstood genius Halliday, who displays traits of Asperger’s syndrome. There’s a Steve Jobs-Steve Wozniak-type dynamic between Halliday and Og, which the film doesn’t quite have the space to flesh out but is compelling based on the little we see of it. This reviewer would love to see a prequel just about Halliday and Og developing the OASIS.

Ready Player One might feel intimidating to those who aren’t dyed-in-the-wool pop culture connoisseurs, but even if one doesn’t get all or even half of the references, there’s plenty to enjoy in seeing a master of the blockbuster work his magic on a massive canvas.

RATING: 4 out of 5 Stars

Jedd Jong

Jedd Jong

Pacific Rim Uprising movie review

For inSing

PACIFIC RIM UPRISING

Director : Steven S. DeKnight
Cast : John Boyega, Scott Eastwood, Cailee Spaeny, Rinko Kikuchi, Charlie Day, Burn Gorman, Jing Tian, Adria Arjona, Zhang Jin
Genre : Action, Sci-fi
Run Time : 1h 51m
Opens : 22 March 2018
Rating : PG13

Once more unto the breach, dear friends: a Pacific Rim sequel has arrived in the hopes of kick-starting a full-fledged franchise. Will this world of giant monsters (Kaiju) and robots (Jaegers) proceed apace with a Guillermo del Toro-shaped void at its centre?

It is ten years after the events of the first film. Jake Pentecost (John Boyega), the ne’er-do-well son of the late war hero, Jaeger pilot General Stacker Pentecost, wants nothing to do with the Pan Pacific Defence Corps. He flunked out of the academy years ago but is drawn back into the fray by his adoptive sister Mako Mori (Rinko Kikuchi).

Re-entering the Corps, Jake confronts his old rival Nate Lambert (Scott Eastwood). A new cadet arrives in the form of Amara Namani (Cailee Spaeny), a resourceful young scavenger who has built her own Jaeger, Scrapper. It’s been ten years since the Kaiju last attacked earth, but a new wave of invaders, armed with a secret weapon, is inbound. Liwen Shao (Jing Tian) of Shao Industries is developing a new generation of remotely-piloted Jaegers, earning the ire of the current crop of Jaeger pilots. She has employed Kaiju expert Dr Newt Geiszler (Charlie Day) to work on the drones. When a mysterious rogue Jaeger named Obsidian Fury attacks, Jake, Nate and the cadets must defend earth and get to the bottom of who or what is controlling the robot.

It’s understandable that based on the premise alone, some wrote off the original Pacific Rim as being a brainless and cacophonous enterprise akin to the Transformers films. Del Toro ensured that was not to be, delivering a well-made genre film bursting with textural detail, featuring archetypical but compelling characters, and paying tribute to Japanese Tokusatsu and anime without feeling slavish.

It’s too bad that Pacific Rim Uprising is the movie some feared the first would be. For every decision that del Toro would’ve made, Uprising bolts in the opposite direction.

Where Pacific Rim was set in a well-realised, lived-in sci-fi future, Uprising looks shiny and toy-like. The robots in the first film had lots of personality, but the ones here are more interchangeable. When the first movie fell back on formula, it was tempered with earnestness and sincerity. This feels like a more cynical studio product. While many of the characters in the first film were likeable, the characters here are largely annoying.

Replacing del Toro in the director’s chair is Steven S. DeKnight, who created the Spartacus TV series and who was the showrunner on the first season of Daredevil. DeKnight also co-wrote the script with Emily Carmichael, Kira Snyder and T.S. Nowlin. Uprising’s dialogue is often cringe-worthy, and while some jokes land, many do not. There are ham-fisted stabs at relevance by way of referencing outdated memes, and there isn’t enough charm to compensate for the familiarity of the plot and characters.

The world-ending stakes feel diminished, and the computer-generated robots seem to lack weight. Almost all the Jaeger vs. Kaiju battles in the first movie were in rain-soaked darkness, while the fights here take place in the daylight. While it gives us a better look at the larger-than-life combatants, it also exacerbates a sense of artifice. There are certain ideas at play that are very cool, and the throw down between Gipsy Avenger and Obsidian Fury in the Siberian tundra is fun to watch. However, none of the set-pieces are awe-inspiring the way those in the first film were.

This movie comes five years after its predecessor, and it feels a little early to tell a ‘next generation’ story. It doesn’t help that this follows many of the story beats from Independence Day: Resurgence. Despite its $150 million budget, the film sometimes feels like a direct-to-video sequel.

Unfortunately, the Jake Pentecost character is a big contributing factor. Boyega is charming and has excellent comic timing, but he is patently unconvincing as a badass action hero. Idris Elba has left gigantic shoes to fill, and while the movie is quick to remind us that Jake is not his father, it just makes us miss his father. This film sorely lacks gravitas, and Elba is essentially gravitas in human form.

The similarities between Cailee Spaeny’s Amara and Daisy Ridley’s Rey from Star Wars are impossible to miss. They’re both scrappy underdogs who are skilled mechanics and rise from obscurity to face insurmountable odds. While Ridley was endearing as Rey, Spaeny is merely whiny. The newcomer seems out of place in the big budget surroundings. She has plenty of projects lined up and is poised to hit the big time, but there’s room for improvement.

Eastwood is one of those generically handsome leading men Hollywood is trying a little too hard to make happen. There must be less clumsy ways to pander to China than this and films like Independence Day: Resurgence have. Jing Tian is stiff and far from a commanding presence as a Chinese tech mogul looking to revolutionise Jaegers. Jing has had roles in Legendary Pictures projects such as The Great Wall and Kong: Skull Island, but these attempts to kickstart a Hollywood career feel woefully inadequate.

Rinko Kikuchi, who was indelible as Mako Mori in the first film, has a drastically reduced part. Charlie Day wears on the nerves with his increased screen time, while Burn Gorman dutifully does what he can as the stock eccentric scientist.

Pacific Rim Uprising delivers popcorn spectacle and is never boring, but it strips away all the heart, sincerity and much of the technical mastery possessed by its predecessor. The influence of Chinese investors on the story is all too apparent and while kids might be entertained by the big fights, there isn’t enough to take one’s breath away. The film’s ending blatantly begs for a sequel, but there’s little here to inspire faith in wherever this series heads next.

RATING: 2 out of 5 Stars

Jedd Jong

Annihilation movie review

For inSing

ANNIHILATION

Director : Alex Garland
Cast : Natalie Portman, Jennifer Jason Leigh, Gina Rodriguez, Tuva Novotny, Tessa Thompson, Oscar Isaac
Genre : Sci-fi, horror
Run Time : 1h 55m
Opens : 12 March 2018 (Netflix)
Rating : M18 (Violence And Disturbing Scenes)

Natalie Portman steps forth into the unknown in this sci-fi horror thriller. Portman plays Lena, a biologist and former soldier whose husband Kane (Oscar Isaac) has vanished under mysterious circumstances. Lena learns that Kane went on a mission into ‘the Shimmer’, an otherworldly anomaly. Within the Shimmer lie all manner of mutant flora and fauna, the structure of every living thing in its boundaries transformed by a meteor which hit a lighthouse.

Lena volunteers to join an expedition into the Shimmer, with the knowledge that none who have entered before have ever left. Psychologist Dr. Ventress (Jennifer Jason Leigh) leads the team, which also comprises paramedic Anya Thorensen (Gina Rodriguez), physicist Josie Radek (Tessa Thompson), and surveyor and geologist Cassie Sheppard (Tuva Nuvotny). The five women venture into the Shimmer, attempting to decipher its enigma and, more importantly, emerge alive.

Annihilation is based on the novel of the same name by Jeff VanderMeer. The film was adapted for the screen and directed by Alex Garland, who made his directorial debut with the much buzzed-about sci-fi drama Ex Machina. Garland decided not to re-read the book, instead adapting the material as “like a dream of the book”.

There was a degree of intrigue surrounding Annihilation and it is clearly a film that was intended to be seen on the big screen, so it’s a bit of a shame that while it received a theatrical release in the U.S. and China, it is being streamed on Netflix everywhere else. It seems that Paramount financier David Ellison wanted the film reshot after poor test screening results, deeming it “too intellectual”. Director Garland insisted on keeping the film the way it is and was backed by producer Scott Rudin. Paramount eventually made a deal to let Netflix handle international distribution.

With that background out of the way, it’s easy to see why Annihilation might not win over mass audiences, but the very things that set it apart from typical commercial films also make it interesting. Annihilation is a movie that will mess with your head, and if challenging, cerebral sci-fi is what you’re looking for, you’ll find that and then some here.

In Annihilation, what’s scary is also beautiful. The Shimmer is a world in which lots of things have gone wrong – or has everything gone right, and it’s the world outside that’s out of order? Annihilation delves into some heady themes but has the visual invention to hold our interest as it burrows ever further into the madness.

With echoes of H.P. Lovecraft, the works of John Carpenter and Stanley Kubrick, Annihilation is deliberately opaque and vague, but is tense enough to reel the viewer in. Cinematographer Rob Hardy plays with the light within the Shimmer, rendering everything ethereal but slightly menacing. The effect, when combined with other atmospherics including the music by Geoff Barrow and Ben Salisbury, creates a beguiling yet disorienting world that is truly alien.

 

Annihilation isn’t all highfalutin ponderousness: there are a healthy number of visceral genre thrills, including sequences when our characters get chased by monsters like an albino alligator with shark teeth. There is one truly stomach-turning moment of gory body horror, but Annihilation gets under one’s skin with psychological trickery rather than overt grossness. Just like the characters, we’re questioning everything we see. Garland masterfully generates a sense of being sure of nothing except the danger.

It’s worth noting that the film’s main cast is all female. Each of the five characters who go on the expedition are distinct enough from each other and while there isn’t a great deal of development for everyone, there’s sufficient information conveyed about each character that we’re invested in them as a group.

Lena is competent and intelligent but haunted, and Portman portrays the character with admirable sensitivity. She’s somewhat detached from the world, as if she’s lost a piece of herself since the disappearance of her husband. Lena is flawed and difficult to pin down. We see Lena fight battles internal and external, calling on her wits and determination to survive an overwhelming, perplexing ordeal.

Jennifer Jason Leigh is severe and guarded as Dr. Ventress, the authority figure who’s hiding something. We’ve seen Tessa Thompson play badass and assured, so it’s interesting to see her play withdrawn and insecure. Gina Rodriguez is a lively presence who also brings a degree of unpredictability to the table. Of the main cast, Tuva Nuvotny is the blandest, and a scene in which she tells Lena about the background of each team member feels a little on the nose.

For all its trippiness and immersive atmospherics, Annihilation makes several missteps. While the framing device set after the events of the bulk of the film is ostensibly to contextualise the flashbacks, it also means that we know at least some of the outcome of the expedition. There are moments when the film feels like it’s being ambiguous and confusing for the sake of it, but it never feels lazy while doing so.

Annihilation is an intense, thrilling and deeply creepy slice of sci-fi horror that’s sufficiently different from what audiences are used to. Garland continues to show promise as a genre director with an exciting voice, and many spirited discussions about the minutiae of the film and what it all means are bound to ensue. Step into the Shimmer; it’s a wild ride.

RATING: 4 out of 5 Stars

Jedd Jong

A Wrinkle in Time movie review

For inSing

A WRINKLE IN TIME

Director : AvaDuVernay
Cast : Storm Reid, Oprah Winfrey, Reese Witherspoon, Mindy Kaling, Levi Miller, Deric McCabe, Chris Pine, Zach Galifianakis, Michael Peña, Gugu Mbatha-Raw
Genre : Fantasy/Sci-fi/Family
Run Time : 1h 55m
Opens : 8 March 2018
Rating : PG

Madeleine L’Engle’s 1962 young adult sci-fi fantasy novel A Wrinkle in Time has captured the imaginations of children for decades. Under the guidance of director Ava DuVernay, the story makes its way to the big screen.

Young Meg Murry (Storm Reid) has never been the same since the mysterious disappearance of her astrophysicist father Alex (Chris Pine) four years ago. She and her adoptive brother Charles Wallace (Deric McCabe) are visited by the eccentric Mrs Whatsit (Reese Witherspoon), a cosmic entity.

Meg, Charles Wallace and their schoolmate Calvin (Levi Miller) soon meet Mrs Whatsit’s compatriots, Mrs Who (Mindy Kaling) and Mrs Which (Oprah Winfrey). The three ‘Mrs Ws’ whisk the children away on an adventure in search of Meg and Charles’ father. It turns out that Alex Murry found a way to ‘tesser’ or ‘wrinkle time’, travelling through the universe and unable to find his way back. The path that lies before Meg, Charles Wallace and Calvin is paved with wonder, but also untold danger.

Any time a major studio attempts to make a weird, trippy blockbuster that looks to be something outside the norm, it’s a risk. While audiences constantly crave something different, executing a project like that can be tricky. A Wrinkle in Time is as ambitious as it is flawed – while those flaws do make it very interesting, it is frustrating to glimpse the incredible film that might have been.

Ava DuVernay, director of Selma and 13th, is voice who needs to be heard. It’s a great thing that Disney hired her for A Wrinkle in Time, and DuVernay puts her stamp on the story. There are significant changes made the source material: in addition to updating the setting, the characters of Sandy and Dennys, the twins, have been omitted.

The activism that is at the heart of DuVernay’s storytelling can be glimpsed in the film, through small touches like naming the elementary school attended by Meg, Charles Wallace and Calvin after novelist and civil rights activist James Baldwin.

The film’s message is admirable, and its themes of insecurity and a search for belonging are eminently relatable. Unfortunately, A Wrinkle in Time isn’t the easiest film to get into. The world-building seems somewhat haphazard, and the movie struggles to sweep viewers up. There are some beautiful visuals, but much of the computer-generated scenery feels stubbornly synthetic. Location filming in Otago, New Zealand, does lend the film some grandeur, but the landscapes stop short of feeling truly magical.

L’Engle was reading about quantum physics while she wrote A Wrinkle in Time, and in the decades since then, there has been considerable progress in that realm. Both L’Engle’s Christian faith and her interest in science manifest themselves in her writing. We are presented with a melding of science and spirituality, with a new age sensibility permeating the film. The ‘problem of evil’ is confronted head on, with all the evil in the universe emanating from a mystical, malevolent entity known as “The It”. It’s a lot to wrap one’s head around, let alone in a film aimed at kids.

The film’s diverse cast is a point in its favour and is a major way in which DuVernay exercises her voice as the film’s director. Storm Reid shows promise playing the sullen, withdrawn Meg. Many young viewers will readily identify with Meg, and the film’s treatment of body image issues is praiseworthy.

McCabe is impish and endearing, but stumbles through some of the more challenging material in the third act. Miller, best known as Peter Pan in 2015’s Pan, is winsome and just the right amount of dopey as the tagalong.

The three Mrs Ws are appropriately larger-than-life, aided by dramatic hair and makeup and colourful, eye-catching costumes. Oprah Winfrey is convincing as a powerful, benevolent being, since that mostly aligns with her public image. Witherspoon is bubbly and silly, while Kaling is stranded reciting inspirational quotes, a device which doesn’t quite work. The Mrs Ws exist mostly to dispense reams of exposition and aren’t quite as fascinating as their appearances indicate.

Pine is charming, as he is wont to be, if not quite believable as a genius scientist. Gugu Mbatha-Raw doesn’t get too much to do as Meg and Charles Wallace’s mother Kate, but the film is effectively emotional when it depicts the family coping with Alex’s disappearance. Zach Galifianakis is quirky if inessential as The Happy Medium, who fits the ‘weird character we meet along the way’ archetype to a tee.

There is great value in much of what A Wrinkle in Time has to say, but as a transportive, absorbing sci-fi fantasy epic, it doesn’t quite hang together. A Wrinkle in Time is a ‘points for effort’ movie that takes risks – it’s clearly the work of a passionate filmmaker with a distinct voice, so it’s too bad that it winds up being this muddled and unsatisfying.

RATING: 2.5 out of 5 Stars

Jedd Jong