Webslinger

For real. It has to be one of the most innocent PG-13s I've ever seen. Kinda reminds me of how they also flipped out over Eighth Grade and gave it an equally undeserved R a few years back. One of the selling points in the marketing of Are You There, God? It’s Me, Margaret has been the long-standing legacy and timelessness of the Judy Blume children’s novel on which it is based; that marketing angle, luckily, is truth in advertising. With The Edge of Seventeen writer and director Kelly Fremon Craig filling those same roles here, Are You There, God? It’s Me, Margaret is a poignant and frequently hilarious coming of age film that hits virtually all the right notes and succeeds in striking at a sense of universality in its story. Even with a setting more than half-a-century in the past, Craig makes the scenarios and character interactions feel immediate, and she captures the humor, awkwardness, and meaningful growth in this period (lame pun maybe intended) of the titular Margaret’s life with a keen eye for authenticity. Nothing in this narrative feels false or forced, and the frankness with which it deals with the topics it broaches – which undoubtedly resulted in a grossly undeserved PG-13 rating from the MPA (because heaven forbid a film with this setting and subject discuss periods) – makes it feel more honest and impactful. It also succeeds in exploring faith and spirituality more deeply and meaningfully than films that brand themselves as more explicitly “religious;” by being willing to look at both the spiritual benefits and social belonging that can come from religion while also not shying away from the ways in which it actively threatens the dynamics of Margaret’s extended family, Craig engages with matters of faith in a richer and more nuanced manner than most other filmmakers ever will. In front of the camera, the cast is superb at every stop. Abby Ryder Fortson does remarkably authentic work as Margaret, playing her at times surprising confidence and more common insecurities in an effective, relatable fashion. Among the adults, the standout is Rachel McAdams in a warm and funny turn as Margaret’s mother; though the script already gives her enough complexity to work with, McAdams is a pro at making the performance feel lived in and hinting at layers beneath Barbara’s surface. There’s also winning, affecting work from Kathy Bates, who is a joy every time she appears onscreen as Margaret’s grandmother. If there’s any real problem with this film, it’s that the characters are so richly drawn that I felt like more time could have been spent with many of them (especially within the dynamic of Margaret’s main friend group and the more physically developed classmate they ostracize), but they ultimately all get at least one moment that really sings. Much like The Edge of Seventeen, Are You There, God? It’s Me, Margaret has been, at best, a minor hit at the box office, but will hopefully enjoy a long shelf life as the newest sterling member of the past decade’s coming of age movie canon. A-

It may not have much of a creative reason to exist, but the live action remake of The Little Mermaid is, for the most part, pretty good. It has its shortcomings, but this remake seems to have a solid understanding of what makes the 1989 original work at heart and mostly hews to it by getting the major characters and songs right and letting the rest fall into place around them. This film was always going to live or die by the performance of the actress in the title role, and luckily, Halle Bailey delivers. Bailey’s performance as Ariel has all the traditional markers of a star-maker, as she confidently eases into Ariel’s wonder-filled and curious persona; she also proves equally adept at nailing the big musical numbers (her take on “Part of Your World” is about on par with Jodi Benson’s in the original – and that’s no small compliment) and the physical comedy once Ariel reaches the surface. Though she does not get much screen time, Melissa McCarthy is clearly having a great time as Ursula, and she sinks her teeth into the part with gusto and delivers a solid rendition of “Poor Unfortunate Souls;” it’s a reminder of how good McCarthy can be when she has the right material to work with. Most of the other live action stars are serviceable at best, but the voice work from Awkwafina as Scuttle (casting that actually works surprisingly well even if it seems odd at first glance) and Daveed Diggs as Sebastian is a lot of fun. And though it could have been brighter and I would have liked seeing livelier character animation, much of the film does look visually appealing. This remake obviously won’t supplant the original in most viewers’ minds if given the choice of which version to watch, but this Little Mermaid is a solidly entertaining update that feels mostly connected with the spirit of its originator. B

I finally made it back to the movies after the double whammy of covid and peak busy season at work passed - hadn't seen anything theatrically since Sisu around mid-May. Spider-Man: Across the Spider-Verse fully ruled. I actually loved it even more than the first one. It's an absolutely exhilarating film with some of the most creative and gorgeous animation in any animated film in recent memory. I'm definitely looking forward to seeing it again. I also caught up with the live action remake of The Little Mermaid. I was surprised by how much I liked it. It doesn't really have a solid creative reason to exist and doesn't solve the pacing problems that have plagued most of the Disney live action remakes (I really think 90% of the bloat in those things is the fact that so many things that move fluidly in animation take significantly longer to execute in live action/CGI animation intended to resemble live action), but it does a solid job of recapturing much of what worked about the animated original, and Halle Bailey's performance as Ariel is a winner. In the TV realm, I've also been keeping up with the new season of Clone High. It's pretty damn funny, and I actually gasped (then laughed) when the show took advantage of its new place on HBO Max and dropped its first f-bomb. Between this and the huge success of Across the Spider-Verse, Lord and Miller are crushing it right now.

I love seeing Spider-Man in double digits throughout the full set of weekdays. Here's to hoping it has lots and lots of staying power.

Faced with having to follow one of the most surprising and dynamic mainstream animated films in recent memory, Spider-Man: Across the Spider-Verse more than rises to the occasion. This sequel takes even bigger, bolder swings than its predecessor – no easy feat considering how many chances that film took with its style and setting – and delivers a viewing experience so engaging and exhilarating that its 140-minute running time flies by. After a show-stopping prologue that stretches across 20 minutes or thereabouts, the main storyline successfully builds upon the character relationships, emotional arcs, and universe rules established in the first film by taking each component to fresh places that feel like an organic continuation of the ideas established before. The continued character growth of Miles Morales remains compelling and dives into new ideas surrounding identity and destiny that feel impressively weighty while coexisting with plenty of well-pitched humor. There’s also quite a bit of expansion of Gwen Stacy’s narrative, complete with numerous moments whose emotional impact hits on the same level as peak Pixar. Beyond the impressive character work, the animation is a stunning mix of styles that never fails to amaze. (For me, the highlight was the dreamy mix of watercolor blues, pinks, and whites in Gwen’s universe.) There will certainly be viewers who walk away dissatisfied with the fact that this film is very clearly a “Part 1” of an even larger story, but the filmmakers handle the story beats so well that it still feels like a complete and satisfying experience, while also teasing elements of the next film with such panache that it’s hard not to exit the theater amped for what lies ahead. Across the Spider-Verse is so ambitious and so packed with compelling ideas, astonishing feats of action-driven animation, and clever visual touches that it practically demands repeat viewings, and I’m excited to continue to unpack this film further on subsequent viewings. For my money, it’s even better than the original, and feels certain to be at the head of this year’s animation and popcorn blockbuster classes alike. A

Shiva Baby was hilarious, and the premise for this one sounds like a lot of fun. A Booksmart-esque run is probably the best case scenario financially, but if it's even two-thirds as funny as Shiva Baby, I'm there.

I've been working through the portion of Buster Keaton's filmography being covered on the Blank Check podcast. 10 movies in, and it's been a pretty fun ride even if I have absolutely no clue how to objectively analyze them beyond "Stunt very funny!" and "Holy shit, how did this man not die, like, fourteen times over making these things?" The General, Sherlock Jr. (which actually feels like it has a ton to say about the nature of movies and how we see ourselves through them), and Steamboat Bill Jr. are the big highlights for me so far. Even the least of the films in this roundup - College, which has some decidedly yikes-y elements to it - still has plenty of gags that left me smiling. Also, I was laid up with covid this week, so in addition to a few Keaton joints, I also rewatched Top Gun: Maverick, The Matrix Reloaded, Spider-Man 2, Tenet, Who Framed Roger Rabbit, American Graffiti, Finding Nemo, and Guardians of the Galaxy.

I feel like an Uncharted sequel would be a mistake. Uncharted's success absolutely feels like a right movie at the right time situation between coming two months after No Way Home and opening in a marketplace that had been light on broadly-appealing action movies since, well, No Way Home. The fact that it did well on Netflix also reinforces my thinking that it felt like a Netflix movie that somehow got lucky and slipped through the cracks into the studio system. A drop for a hypothetical sequel seems like it would be inevitable.

I know we all knew a huge jump was coming, but it still makes me really happy that Across the Spider-Verse made more in its opening day (plus previews) than the previous film did in its entire opening weekend. Now if only this pesky covid thing could get out of my system so that I could actually go see Across the Spider-Verse...

01/07 The Fabelmans (2) 01/08 M3GAN 01/21 The Whale 01/22 Avatar: The Way of Water (3) (3D) 01/28 A Man Called Otto 02/04 Knock at the Cabin 02/05 Living 02/12 Titanic (2) (3D) 02/17 Ant-Man and the Wasp: Quantumania 02/18 Magic Mike's Last Dance 02/25 Cocaine Bear 02/26 Missing 03/04 Creed III 03/14 Bull Durham 03/17 Shazam! Fury of the Gods 03/18 Scream VI 03/24 John Wick: Chapter 4 04/02 Dungeons & Dragons: Honor Among Thieves 04/08 Air 04/11 Unforgiven 04/16 Renfield 04/23 Evil Dead Rise 04/29 Beau Is Afraid 05/05 Guardians of the Galaxy: Vol. 3 05/13 Sisu

A- Air John Wick: Chapter 4 B+ Creed III Dungeons & Dragons: Honor Among Thieves Evil Dead Rise Guardians of the Galaxy: Vol. 3 M3GAN Scream VI Sisu B Beau Is Afraid Knock at the Cabin Missing Renfield B- Cocaine Bear Magic Mike's Last Dance C Ant-Man and the Wasp: Quantumania Shazam! Fury of the Gods

A- Air John Wick: Chapter 4 B+ Creed III Dungeons & Dragons: Honor Among Thieves Evil Dead Rise Guardians of the Galaxy: Vol. 3 M3GAN Scream VI B Beau Is Afraid Knock at the Cabin Missing Renfield B- Cocaine Bear Magic Mike's Last Dance C Ant-Man and the Wasp: Quantumania Shazam! Fury of the Gods

With Guardians of the Galaxy: Vol. 3, writer-director James Gunn has succeeded in completing an emotionally resonant trilogy that thrives on its winning depiction of interpersonal relationships and found family. Like the previous installments in this franchise-within-a-franchise, Vol. 3 successfully sidesteps many of the bigger arcs in the Marvel Cinematic Universe in favor of a more personal, intimate focus. As a result, the film earns its emotional moments that may well cause invested viewers to become at least a little misty-eyed. As with Gunn’s previous two films in this universe, it’s also a colorful, humorous film that gets plenty of mileage out of its well-pitched comic timing, its expert utilization of music selections, and the clever visual tricks it employs in its action-driven set pieces. Even with a bloated running time that stretches a wee bit too long in the final act, it’s a deeply enjoyable popcorn flick that goes down easily, even in spite of some darker developments that might make it a bit less kid-friendly than the preceding films. As always, the cast chemistry is a notable highlight; the returning players all slide back into their roles with pluck, all while successfully adding further emotional layers (with the one exception of Zoe Saldana, whose talents and past successes in her role are just about as noticeably overlooked here as they are in Avatar: The Way of Water). While it’s tough to see where this particular strand of the MCU may go from here, Guardians of the Galaxy: Vol. 3 is a rousing and resonant end to the trilogy – the rare big franchise film that widens its canvas while also making careful considerations in rounding out its emotional arcs in satisfying fashion. B+

So... this movie sure was something. I'll give my standard, spoiler-free(-ish) review for posterity, and then some spoilery thoughts afterward. Nothing can prepare you for how strange and unhinged Beau Is Afraid is. While writer-director Ari Aster’s preceding features, Hereditary and Midsommar, were anything but standard genre fare, they at least possess relatively straightforward narratives and consistent, coherent logic; with Beau Is Afraid, however, Aster swings even bigger than before with an unrepentantly bizarre odyssey that operates on the chopped logic of dreams and bears such a tenuous connection to reality that it practically dares viewers to exclaim “what the…?” every few minutes throughout its three-hour running time. It’s destined to be a wildly divisive film that some viewers simply won’t be able to connect with at all. For me, though, I can say that while I won’t pretend to have understood all of it nor to have been on board with everything Aster serves up, I was also firmly in its grasp for the entire three hours. The manic energy and dramatic, dreamlike (or, more often than not, nightmare-like) swings in mood and logic ensure that there is always something to command attention, and Aster’s confidence in introducing so many absurd elements is impressive. It may not all add up, but it is always interesting in one way or another. The film hits its most artistically fulfilling height in the third of its four(-ish) segments, which recontextualizes much of Beau’s experiences as an avant garde outdoor stage play, but the segments surrounding it are so boldly bonkers that they are hard to look away from. At the center of it all, Joaquin Phoenix gives a good, committed performance as the title character; he’s a big ball of tics and neuroses, and Phoenix is clearly having fun pushing himself to meet the absurdity of everything happening around him. Beau Is Afraid is undeniably a strange film that swings so big and so broad that it misses and feels obtuse or pretentious on numerous occasions, but it also connects more than enough to keep a willing viewer fascinated and ready to follow it through its increasingly strange developments. B And now, the spoilery comments: - Seriously, there's no other way to describe this film other than "dreamlike" - or, perhaps more accurately, "nightmare-like." It feels like a bizarre dream that swings wildly from major focus to major focus with minimum respect to reality and maximum attention to the chaos of the subconscious. It's so like a choppy dream that I more-than-half-expected the final scene to be a perfectly ordinary Beau waking up in an intense sweat and remarking upon what a crazy dream he had. - I'll probably revisit this film on streaming if only to do freeze frames on the sheer muchness of the production design, particularly in the first segment. - At first, I laughed at the ironic juxtaposition of playing something as frothy as "Always Be My Baby" during the sex scene where Beau legitimately fears dying, but the fact that it: a.) climaxes in the death of Parker Posey's character, and b.) is later revealed to be something Beau's mother (wow, Patti LuPone is a get for this - or any - film) watches just makes it even more perversely hilarious. Beau's mother's rage over the whole incident retroactively makes the song choice even wilder and funnier, for it retroactively serves as a reminder that Mona will always see Beau as her "baby" and take offense to any and all expressions of his adulthood and autonomy. - Messy as this film is, I can't imagine it being any shorter. Any time I'm in the "good, not great" range with a film this long, I expect length to be a critique, but there's simultaneously so little plot and so much meaning in all the weird stuff that happens that I can't really imagine Aster cutting anything. - The penis monster is, without a doubt, one of the five weirdest things I've ever seen in a movie. Again, I don't know how anyone walks out of this film taking it at face value rather than interpreting it as the cinematic representation of some whacked-out dream.

Agreed. Such a fun movie, and it played so well with the Sunday afternoon crowd I saw it with opening weekend that I was sure strong legs would be a given. Hopefully, like Daley & Goldstein's previous film, it can have a more successful run on streaming.

My top 4 from Boyle are Slumdog Millionaire, Steve Jobs, Trainspotting, and 127 Hours, all of which I had seen before the series, with 28 Days Later following closely in fifth. I feel like those films each capture something interesting and essential about Boyle’s style and sensibilities. Among first-time viewings, the ones I dug the most were Shallow Grave and Sunshine. What I’d say I’ve enjoyed most about going through/back through all of Boyle’s films (except 28 Days Later, though I saw that it was made available to rent on Prime again a few weeks ago) is that even the misses are still really interesting to watch. Like, A Life Less Ordinary is far from a good movie, but it has so many WTF-level decisions that I still had some fun watching it and trying to figure out what they were thinking while making it.

I rewatched Logan Lucky a couple times this week - once while working, then again while showing it to a class. Such a ridiculously fun movie where everyone in the insanely talented cast is clearly having a blast with their respective quirks. I also rewatched Steve Jobs ahead of the next Blank Check episode. Man, talk about another movie where everyone in the cast is on fire. Fassbender and Winslet were my winners in their respective categories in 2015, and this rewatch was absolutely a confirmation of why.

Okay, getting this to the right thread this time, LOL. Went and saw Air theatrically last night and reviewed in the RTM section. A highly enjoyable return to form for Affleck in the director's chair. I also had Moneyball on as background noise last night. Even though there's always a little part of me who wants to say "Well, actually..." and point out how the A's had tons of homegrown talent the movie completely glosses over (all of whom were big enough stars the year before that no one out west was sleeping on them), it's such an entertaining and well-crafted film that I still get caught up in it every time. And today, I caught the little-seen 2013 Danny Boyle film Trance. What a bananas movie - but with how confidently and stylishly Boyle presents it, I was never bored. Kinda wild that we got two twisty thrillers with major psychologist characters in early 2013 (the other one being Side Effects, which I also rewatched fairly recently).

Whoops... I had a massive brain fart and accidentally posted in the wrong thread. My bad! To actually get on topic, I've enjoyed seeing a consistent series of strong openings in the last couple months, all capped off by the gargantuan launch for Super Mario Bros this weekend. It's nice to be getting back to having a series of strong performers instead of the pattern of one big movie running the show with no significant competitors for weeks on end.

01/07 The Fabelmans (2) 01/08 M3GAN 01/21 The Whale 01/22 Avatar: The Way of Water (3) (3D) 01/28 A Man Called Otto 02/04 Knock at the Cabin 02/05 Living 02/12 Titanic (2) (3D) 02/17 Ant-Man and the Wasp: Quantumania 02/18 Magic Mike's Last Dance 02/25 Cocaine Bear 02/26 Missing 03/04 Creed III 03/14 Bull Durham 03/17 Shazam! Fury of the Gods 03/18 Scream VI 03/24 John Wick: Chapter 4 04/02 Dungeons & Dragons: Honor Among Thieves 04/08 Air

A- Air John Wick: Chapter 4 B+ Creed III Dungeons & Dragons: Honor Among Thieves M3GAN Scream VI B Knock at the Cabin Missing B- Cocaine Bear Magic Mike's Last Dance C Ant-Man and the Wasp: Quantumania Shazam! Fury of the Gods

Air marks a swift, smooth return to the director’s chair for Ben Affleck. After an ambitious swing and a miss with his 2016 crime drama Live by Night, Affleck returns to his highly skilled form with a deeply entertaining crowd-pleaser. As scripted in a sharp and witty screenplay by Alex Convery and directed with verve by Affleck, Air takes the inner workings behind the deal that brought a young Michael Jordan to Nike and makes them feel engaging in a manner that practically feels effortless. Even with Jordan’s partnership with Nike a forgone conclusion to anyone who hasn’t lived under a rock for the last four decades, Affleck directs every scene so that it hums and projects a sense of urgency; he works within the inevitability of the final outcome by focusing on the creativity and risk-taking that led to said outcome, and he presents it in such a way that it feels richly compelling all the way through. As with most of Affleck’s previous directorial work, the acting is top-notch, with Affleck’s style allowing the actors to breathe and deliver natural, deeply appealing performances. Matt Damon works his everyman charm to great effect once again as persistent talent scout Sonny Vacarro, delivering a performance that wrings laughs and audience sympathy while never losing sight of the tenacity at his character’s core. The supporting ensemble allows time for Jason Bateman, Chris Tucker, Chris Messina, Marlon Wayans, and even Affleck himself to shine in scenes where each of them essentially get to deliver monologues with such conviction and attention to subtle character details that they earn the cheers and laughs they might elicit from audiences. Among the supporting players, though, the highlight is unquestionably Viola Davis as Jordan’s mother; in relatively few scenes, Davis imbues her character with such humanity and quiet but firm confidence that she feels convincing as a powerful influence in the story. The decision to largely sideline Jordan himself – he appears, but is blocked to be visible only at angles – also helps to amplify his larger-than-life stature. After seeing Affleck’s directorial career falter so badly amid his much-publicized personal troubles at the end of the 2010s, it’s a joy to see him having so much fun on both sides of the camera in Air, and that joy translates into what I’m sure will stand as one of this year’s most purely enjoyable pieces of entertainment. A- Also, as someone from Washington state and someone who applied and got in there (but ultimately went elsewhere), I loved all the Gonzaga jokes. And as a former Portlander, I also had a "Leo DiCaprio pointing at the TV screen in Once Upon a Time in Hollywood" moment at the shot of the St. John's Bridge, which used to be part of one of my running routes.

I rewatched Almost Famous last night. Still just the theatrical cut even though I have the 4K director's cut sitting around too, but it was late enough that I didn't feel like I had the full 2:42 to devote to it. Even so, I still think it's Cameron Crowe's masterpiece. I love that as specific as it is about music, it captures the essence of being a fan of an art so well that it could easily be applied to fandom of different media too. I also always forget how good Frances McDormand is in it between repeat viewings - she makes those phone conversations feel both funny and impactful in about equal measure.

With its source material’s continued ascendance from a shorthand punchline for nerdiness to a game with wide-ranging mainstream appeal, it’s only fitting that Dungeons & Dragons: Honor Among Thieves lands as such an enjoyable crowd-pleaser. Under the direction of Game Night helmers John Francis Daley and Jonathan Goldstein, this Dungeons & Dragons navigates its entire two-and-a-quarter-hour run time breezily. The action sequences continue the promise Daley and Goldstein demonstrated in their previous film with a consistently dynamic feel, clear and inventive visual tricks, and moments that earn any laughs or cheers they might get from a theatrical audience. The comedy also hits, with stellar one-liners and recurring bits alike. Where the film ultimately finds its biggest success, however, is in its characters. Daley and Goldstein latch onto themes of found family essentially from the jump, and the bonds between the character enhance the effectiveness of both the comedy and the action, and they also help the film’s stabs at pathos feel genuine and earned. As the leader of the ragtag team at the center of the action, Chris Pine does inspired, charismatic work that utilizes his cocksure swagger and comedic timing to high effect. Fellow team members Michelle Rodriguez, Sophia Lillis, and Justice Smith also each get moments to shine, and the quartet has such ready-made chemistry with one another that their bond and commitment to one another feels fully believable. There’s also a really fun supporting turn from Regé Jean-Page, who owns his role so assuredly that he feels like a star in the making. Even in relatively limited action as a smarmy figurehead for the villain, Hugh Grant is clearly having a good time hamming it up. While it is not exactly groundbreaking nor a reinvention of any traditional genre (though I suppose it’s the best film based on a tabletop roleplaying game by leaps and bounds), Dungeons & Dragons: Honor Among Thieves is a wildly entertaining film whose confidence in its material and earnestness in its delivery makes it a whole lot of fun. B+

I've been making the most of a week off from work with a smattering of new viewings and rewatches. Here we go... - Game Night (rewatch): Revisited this one ahead of Dungeons & Dragons, and it remains lots of fun on yet another repeat viewing. I'm still surprised this wasn't a bigger hit in its theatrical run. - Avatar: The Way of Water (rewatch): Streamed the digital version at home; if the quality here is any indication, the 4K disc is going to rule. - 127 Hours (rewatch): Caught it for the first time since seeing it theatrically, and perhaps I was just thinking that the troubling info that had come out about James Franco (and the guy he plays in the film) in the intervening years would dampen my enjoyment of the film, but I was kinda amazed at how well it held up. Danny Boyle really directs the hell out of it. - Dungeons & Dragons: Honor Among Thieves - Lots and lots of fun. I really dug the main ensemble's easygoing chemistry and the cleverness in Goldstein & Daley's directing style. - Point Break: Yeah, I don't know how it took me so long to get around to this one. Bigelow's direction of action rules, and the vibes are off the charts. - Copycat: I'm all about junky thrillers when they're done well, and this one is done really well. - The Aviator (rewatch): Hadn't seen it since 2010 or thereabouts. It's as impressive as I remember from my teenage years, but with an added bonus from now being able to more fully appreciate how it shows off many of Scorsese's gifts and passions as a filmmaker. It's also kinda wild to note how many parallels there are between this and fellow Scorsese/DiCaprio collab The Wolf of Wall Street - in one way or another, both are essentially three-ish-hour biopics about the meteoric rise of ambitious but troubled men who womanize and don't give a damn about the rules. - Gone Baby Gone (rewatch): I still think Ben Affleck's first film from the director's chair is his best, and I'd love to see him go back to something this gritty, stripped-down, and character-driven. - Fargo (rewatch): Still my favorite Coen Brothers film.