Monthly Roundup – February 2018

28 Wednesday Feb 2018

Tags

'C'-Man, Action, Adam Devine, Alan James, Alec Baldwin, Allene Ray, Animation, Ari Sandel, Atomic Blonde, Beauty and the Beast (2017), Berlin, Bill Condon, Black Panther, Chadwick Boseman, Charlize Theron, Comedy, Crime, Daisy Ridley, Dan Stevens, David Leitch, Dean Jagger, Emma Watson, Fantasy, Game Night, Guinn Williams, James McAvoy, Jason Bateman, John Francis Daley, Jonathan Goldstein, Joseph Lerner, Kenneth Branagh, Maris Wrixon, Marvel, Michelle Pfeiffer, Murder, Murder on the Orient Express (2017), Mystery, Noel M. Smith, Rachel McAdams, Reviews, Romance, Romantic comedy, Ryan Coogler, Steve Buscemi, Superhero, The Boss Baby, The Case of the Black Parrot, The Phantom (1931), Thriller, Tom McGrath, Wakanda, When We First Met, William Lundigan

‘C’-Man (1949) / D: Joseph Lerner / 77m

Cast: Dean Jagger, John Carradine, Lottie Elwen, Rene Paul, Harry Landers, Walter Vaughn, Adelaide Klein, Edith Atwater

Rating: 5/10 – a US Customs agent (Jagger) finds himself looking for the killer of his best friend (and fellow Customs agent), and the person responsible for the theft of a rare jewel – could they be the same man?; an odd noir crime thriller that betrays its low budget production values, ‘C’-Man is short on character but long on action, and is fitfully entertaining, though the performances vary wildly and the script contains some very po-faced dialogue, making it a movie you can’t really take your eyes from – and not in a good way.

When We First Met (2018) / D: Ari Sandel / 97m

Cast: Adam Devine, Alexandra Daddario, Shelley Hennig, Andrew Bachelor, Robbie Amell

Rating: 3/10 – Noah (Devine) falls for Avery (Daddario) and winds up in the friend zone, but thanks to a magic photo booth, he gets the chance to go back and change their relationship into a romantic one; a dire romantic comedy that struggles to be both romantic and funny, When We First Met can’t even make anything meaningful out of its time travel scenario, and is let down by a banal script and below-par performances.

The Phantom (1931) / D: Alan James / 62m

Cast: Guinn Williams. Allene Ray, Niles Welch, Tom O’Brien, Sheldon Lewis, Wilfred Lucas, Violet Knights, William Gould, Bobby Dunn, William Jackie

Rating: 3/10 – a reporter (Williams) tries to track down the titular criminal mastermind when he targets the father of his girlfriend (Ray), but finds it’s not as simple a prospect as he’d thought; an early talkie that shows a lack of imagination and purpose, The Phantom struggles from the outset to be anything but a disappointment, what with its unconvincing mix of comedy and drama, its old dark house scenario, and a clutch of amateur performances that drain the very life out of it at every turn.

Black Panther (2018) / D: Ryan Coogler / 134m

Cast: Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, Sterling K. Brown, Angela Bassett, Forest Whitaker, Andy Serkis, Florence Kasumba, John Kani

Rating: 7/10 – the king of outwardly poor but inwardly technologically advanced Wakanda, T’Challa (Boseman), faces a coup from an unexpected source (Jordan), while trying to work out whether or not his country’s scientific advances should be shared with the wider world; though Black Panther does feature a predominantly black cast, and speaks to black issues, this is still a Marvel movie at the end of the day and one that adheres to the template Marvel have created for their releases, making this an admittedly funny and exciting thrill ride, but one that’s also another formulaic entry in the Marvel Cinematic Universe.

Atomic Blonde (2017) / D: David Leitch / 115m

Cast: Charlize Theron, James McAvoy, John Goodman, Toby Jones, Eddie Marsan, James Faulkner, Roland Møller, Sofia Boutella, Bill Skarsgård, Sam Hargrave, Jóhannes Haukur Jóhannesson, Til Schweiger

Rating: 6/10 – in the days before the fall of the Berlin Wall, a spy (Theron) must find a list of double agents that are being smuggled into the West, a task complicated by the involvement of the Americans, the Russians and a number of other interested parties; an attempt to provide audiences with a female John Wick, Atomic Blonde does have tremendous fight scenes, and a great central performance by Theron, but it’s let down by a muddled script, an even more muddled sense of the period it’s set in, and by trying to be fun when a straighter approach would have worked better.

Beauty and the Beast (2017) / D: Bill Condon / 129m

Cast: Emma Watson, Dan Stevens, Luke Evans, Josh Gad, Kevin Kline, Ewan McGregor, Ian McKellen, Emma Thompson, Nathan Mack, Audra McDonald, Stanley Tucci, Gugu Mbatha-Raw

Rating: 5/10 – the classic fairy tale, and previously a classic animated movie, is given the live action treatment by Disney; if the latest installment of a certain space opera hadn’t been released in 2017, Beauty and the Beast would have been the number one movie at the international box office, but though the House of Mouse might point to this as a measure of quality, the reality is that Watson was miscast, the songs lack the emotional heft they had in the animated version, and the whole thing has a perfunctory air that no amount of superficial gloss and shine can overcome.

The Case of the Black Parrot (1941) / D: Noel M. Smith / 61m

Cast: William Lundigan, Maris Wrixon, Eddie Foy Jr, Paul Cavanagh, Luli Deste, Charles Waldron, Joseph Crehan, Emory Parnell, Phyllis Barry, Cyril Thornton

Rating: 6/10 – a newspaper reporter (Lundigan) gets involved in a case involving a master forger (the Black Parrot), an antique cabinet, and a couple of mysterious deaths; an enjoyable piece of hokum, The Case of the Black Parrot gets by on a great deal of understated charm, a whodunnit plot that doesn’t overplay its hand, and by having its cast treat the whole absurd undertaking with a sincerity that is an achievement all by itself.

Murder on the Orient Express (2017) / D: Kenneth Branagh / 114m

Cast: Kenneth Branagh, Tom Bateman, Lucy Boynton, Olivia Colman, Penélope Cruz, Willem Dafoe, Judi Dench, Johnny Depp, Josh Gad, Manuel Garcia-Rulfo, Derek Jacobi, Marwan Kenzari, Leslie Odom Jr, Michelle Pfeiffer, Sergei Polunin, Daisy Ridley

Rating: 5/10 – the famous Belgian detective Hercule Poirot (Branagh) is faced with a complex mystery: which one of a dozen passengers killed an infamous kidnapper, and more importantly, why?; yet another version of the Agatha Christie novel, Murder on the Orient Express strands its capable cast thanks to both an avalanche and a tepid script, leaving its director/star to orchestrate matters less effectively than expected, particularly when unravelling the mystery means having the suspects seated together in a way that clumsily replicates the Last Supper.

The Boss Baby (2017) / D: Tom McGrath / 97m

Cast: Alec Baldwin, Steve Buscemi, Jimmy Kimmel, Lisa Kudrow, Tobey Maguire, Miles Bakshi, James McGrath, Conrad Vernon, ViviAnn Yee, Eric Bell Jr, David Soren

Rating: 6/10 – when seven year old Tim (Bakshi) finds he has a new baby brother, Theodore (Baldwin) – and one dressed in a business suit at that – he also finds that Theodore is there to stop babies from being usurped in people’s affections by puppies; a brightly animated kids’ movie that takes several predictable swipes at corporate America, The Boss Baby wants to be heartwarming and caustic at the same time, but can’t quite manage both (it settles for heartwarming), and though Baldwin may seem like the perfect choice for the title character, he’s the weakest link in a voice cast that otherwise sells the performances with a great deal of enthusiasm.

Game Night (2018) / D: John Francis Daley, Jonathan Goldstein / 100m

Cast: Jason Bateman, Rachel McAdams, Kyle Chandler, Billy Magnussen, Sharon Horgan, Lamorne Morris, Kylie Bunbury, Jesse Plemons, Danny Huston, Michael C. Hall

Rating: 5/10 – when a group of friends led by Max (Bateman) and Annie (McAdams) are invited to a game night at the home of Max’s brother, Brooks (Chandler), the evening descends into murder and mayhem, and sees the group trying to get to the bottom of a real-life mystery; like an Eighties high concept comedy released thirty years too late, Game Night has a great cast but little direction and waaaay too much exposition clogging up its run time, all of which makes a couple of very funny, very inspired visual gags the only reward for the viewer who sticks with this to the end.

Penguins of Madagascar (2014)

13 Saturday Dec 2014

Posted by dullwood68 in Movies

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Tags

Animation, Benedict Cumberbatch, Eric Darnell, John Malkovich, Kowalski, Madagascar, Octopus, Private, Review, Rico, Simon J. Smith, Skipper, The North Wind, Tom McGrath

D: Eric Darnell, Simon J. Smith / 92m

Cast: Tom McGrath, Chris Miller, Christopher Knights, Conrad Vernon, John Malkovich, Benedict Cumberbatch, Ken Jeong, Annet Mahendru, Peter Stormare

Antarctica: three wilful penguins, Skipper (McGrath), Kowalski (Miller) and Rico (Vernon) rescue an egg from an abandoned ship full of leopard seals. The egg hatches to reveal a baby penguin they call Private (Knights). After seeing off the seals they find themselves adrift on a small patch of ice.

Ten years later – and following on from the events in Madagascar 3: Europe’s Most Wanted (2012) – the team decide to leave the circus. They break into Fort Knox so that they can celebrate Private’s birthday by treating him to some Cheezy Dibbles, a snack that has been discontinued but which can still be found in one of the Reserve’s vending machines. However, the vending machine proves to be a trap and the team are kidnapped by Dave (Malkovich), an octopus bent on revenge against all penguins thanks to his treatment in various zoos where they were the star attraction and not him.

The penguins escape his clutches and find themselves in Venice. Cornered by Dave’s squid “henchmen”, they find themselves rescued by members of the North Wind, a secret, undercover, inter-species task force dedicated to bringing animal villains to justice. Led by Agent Classified (Cumberbatch), they view Skipper and the gang as unreliable and refuse to team up with them; instead they have the gang transported to one of their remote bases (ironically, on Madagascar). But the gang escape and make their way to Shanghai where they manage to capture Dave. He escapes though, and manages to kidnap all the city zoo’s penguins, and Private as well. At his remote island base, Dave shows Private his plan to use a Medusa serum on all the world’s penguins, and which will turn them all into horrible, mutated creatures.

Meanwhile, the penguins and the North Wind argue about the best course of action. They do agree to attempt a rescue mission but are all captured. Private manages to free the North Wind but instead of freeing the penguins they depart for reinforcements. With Dave heading for New York City to release the Medusa-affected penguins on an unsuspecting public, it’s up to Private to find a way of saving his friends, and all the other penguins as well.

With Skipper, Kowalski, Rico and Private proving the most popular characters in the Madagascar franchise, it was inevitable that after several short movies and their own TV show, that a feature-length movie would happen eventually (in fact it’s been on the drawing board since 2005). Thankfully, all the well established quirks and traits of the characters have been retained, along with their Bond-style theatrics, and at the service of a half-decent plot that, while not entirely too imaginative, still makes for a lot of fun and keeps the movie entertaining as a whole.

There’s a lot going on in Penguins of Madagascar: it’s an origin story (not that it was really needed), a revenge tale, a spy caper, a personal empowerment yarn (Private feels like a lesser member of the team because he doesn’t have a specific skill), and a family saga. Mixing all these elements could have led to the movie having an identity crisis, but under the auspices of Darnell and Smith, the movie weaves these various strands to such good effect that each one plays out with to its full potential. It’s good to see so many elements in a movie given enough space to work effectively, and not feel under-developed. And even if these elements are entirely familiar or lack a degree of originality, there’s enough verve and vitality about them to offset any disappointment.

With a lot going on, there’s also a lot to enjoy, though some of it – such as the inclusion of several movie star names amongst Dave’s instructions to his squid squad, e.g. “Nicolas! Cage them!” – may require repeat viewings to fully appreciate or pick up on. (There’s been some criticism that with so much going on this leads to some of the humour being hit and miss, that if one joke fails it’s not a problem as there’ll be another one along in a minute. Not to be too obvious about it, but it’s a rare movie that has a 100% hit rate when it comes to jokes or visual humour.) But as with most big budget studio animation these days, it’s all part of the enjoyment to be had, with references for kids and adults alike, making the movie work on several levels, and providing entertainment for as broad an age range as possible.

Whatever your reaction to the material may be, Penguins of Madagascar is still a fast, funny, visually inventive movie that is a treat to watch. The glossy, vibrant animation is sharp and richly detailed, and has a spirited zest to it that makes watching the movie a complete pleasure. From the crisp whiteness of Antarctica, to the bright, colourful showdown in New York City, this is animation that zings and pops off the screen with fizzy, glorious abandon. The various set pieces are handled with skill and imagination, and the characters are so cleverly drawn and animated that certain habits almost go unnoticed (Agent Classified can’t say “penguin”; instead he says “pengwings”). With so much going on visually, it’s fitting that the voice cast is able to match the animators with their performances. Cumberbatch and Malkovich are great choices, their vocal styles complementing their characters’ looks perfectly and adding a further layer of richness to the proceedings. As the titular team, McGrath (who created the characters), Miller, Knights and Vernon have been doing this for so long that they don’t put a flipper wrong throughout, and there’s solid support from the likes of Jeong and Stormare (and yes, the documentary filmmaker at the beginning is Werner Herzog; who knew he liked penguins so much?).

It looks like it’ll be a while before we see Skipper and the gang again – not until Madagascar 4 reaches us in 2018 – but for now this outing for the spy-centric birds acts as a wonderfully anarchic, hugely enjoyable showcase for their particular brand of well-meaning chaos. Heartwarming at times, highly silly at others, and with something for everyone packed into its ninety-two minute running time, this is an exuberant, rewarding di-version (or should that be div-ersion?) that succeeds admirably in expanding the world of four very individual penguins.

Rating: 8/10 – glorious fun throughout, Penguins of Madagascar is another sure-fire success from Dreamworks Animation; it may lack depth and play fast-and-loose with subtlety – “No one breaks the Wind” – but as an exercise in well-crafted lunacy, this fits the bill entirely.