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Bad boys, bad boys, whatcha gonna do? Whatcha gonna do when they come … back … for you?

That’s the question some might have been asking themselves upon hearing that there would be a third installment in the Will Smith-Martin Lawrence buddy cop action comedy “Bad Boys” series. With 17 years having elapsed since the last entry, would this latest offering work? Would the high-octane rapid-fire profane chemistry of the two leads hold up? What about the new directing team of Adil and Bilall? Would they be able to fill the explosion-and-bikini-filled shoes of action auteur Michael Bay?

Do we need another “Bad Boys” movie?

Ultimately, the answer is “no” – and that’s OK. We don’t need another “Fast & Furious” movie. We don’t need another Marvel/DC movie. We don’t need another cartoon musical. But they’re still fun, and that’s what “BBFL” is. It’s fun. A lot more fun than it has any right to be, in fact.

This film is a throwback to a different era of action movie, one anchored and elevated by the still-strong comedic dynamic between Will Smith and Martin Lawrence. It somehow manages to simultaneously acknowledge and ignore the passage of time, a look at two guys coming to terms with the realities of aging while ALSO still clearly being far and away the coolest dudes in the room. It’s ridiculous and sublime and unexpectedly honest, close to the best-case scenario for a story that’s been gathering dust for nearly two decades.

Published in Movies
Wednesday, 22 January 2020 14:16

‘Dolittle’ does even less

When a once-hyped big-budget movie sees its release time moved from prime real estate to the January tundra, it’s probably safe to assume that things haven’t worked out the way anyone anticipated. It’s not hard to tell when a studio has made the grim decision to cut its losses.

“Dolittle” was obviously intended to be a tentpole, a spring/summer release meant to kick off a franchise. And with no-longer-Tony-Stark Robert Downey Jr. on board, it probably felt like an easy win, a no-brainer.

Instead, it’s a meandering and pointless exercise in formulaic filmmaking. It is utterly lacking in any sort of spark, a flat and listless story told without any real excitement or urgency. There’s zero in the way of originality and even less in the way of engagement despite an absolutely all-star cast. Younger viewers might get some giggles, but even they will likely sense that something doesn’t sit right.

Basically, “Dolittle” is a dumb movie that doesn’t really care how dumb it is.

Published in Movies
Wednesday, 15 January 2020 14:11

War is hell – ‘1917’

I’m always a little suspicious when I hear a movie being lauded as a “technical achievement.” Not because I don’t value the technical aspects of filmmaking – quite the opposite, actually. It’s more that I worry that a film relies on technique over narrative, rather than letting each elevate the other. It doesn’t matter how beautifully a film is made if we don’t care about the tale being told.

“1917,” directed by Sam Mendes from a script he co-wrote alongside Krysty Wilson-Cairns, was that movie. I’d been hearing for months about the film’s aesthetic and cinematographic ambition, the fact that the entire thing was constructed to look like a single unbroken take. Impressive, sure, but if we aren’t engaged by the story and the characters … who cares?

Turns out I needn’t have worried, because while yes, it is an incredible technical achievement that elicits legitimate awe in spots, it is also a compelling story, as we follow along on a seemingly impossible mission laid at the feet of young men who can’t possibly be prepared for such demands, yet ultimately venture forth in an effort to do what’s right.

Published in Movies
Wednesday, 15 January 2020 14:09

Depth charge - ‘Underwater’

The ocean can be scary.

Specifically, the deep ocean. We’re talking Mariana Trench deep. Challenger Deep deep. Miles down where the pressure is so intense that only particular brands of strange and strong life can exist. In many ways, the ocean floor is as alien to mankind as the moon. Perhaps more so.

As such, it makes sense that such a place would inspire some sci-fi/horror storytelling. The latest offering in that vein is “Underwater,” directed by William Eubank and starring Kristen Stewart. One might suspect that it’s your usual mid-January fare, but don’t be fooled by the release date – it isn’t a great movie, but there’s enough here to warrant a look from sci-fi fans.

There are shades of other, better films here – classics like “The Abyss” and the very obvious influence of the first two “Alien” movies – and “Underwater” occasionally wanders into the realm of the derivative. Still, the film is stylistically interesting, and Stewart is surprisingly engaging in a role that’s a bit of a departure for her. Again, not great, but not terrible either.

Published in Movies
Tuesday, 07 January 2020 12:46

‘Little Women,’ big feelings

No matter how voracious a cultural consumer we might be, the reality is that there’s just too much out there for anyone to experience it all. Too many books to read, to many songs to hear, too many films and plays and shows to watch. There will always be gaps.

For instance, I myself have a “Little Women”-shaped hole in my own cultural experience. Despite the relative ubiquity of Louisa Mae Alcott’s classic novel and its multitude of film and stage adaptations, I had never directly engaged with the story. I never read the novel, nor saw it on stage or screen. Yes, I had a very basic awareness due to its cultural presence, but it boiled down to basic timeframe, number of sisters and the plot point that Rachel spoils for Joey on an episode of “Friends.”

So I wondered what kind of experience I would have seeing this new “Little Women” cinematic adaptation. It comes courtesy of Greta Gerwig, who wrote the screenplay as well as directed, and features an absolutely stacked ensemble cast. Obviously, the odds were in favor of this being a good movie. But would my lack of familiarity hinder my enjoyment?

Turns out I worried for nothing, because not only is “Little Women” a good film, it is a GREAT film. It is masterfully constructed and beautifully composed, featuring a wonderful period aesthetic and absolutely incredible performances. It stays true to the truths of the material’s history while also finding ways to endow those truths with elements tied to our own modern world. It’s an incredible feat of filmmaking, one that is almost certainly even better than you think it is, no matter how good you believe the movie to be.

Published in Style
Tuesday, 07 January 2020 12:43

Sandler sparkles in ‘Uncut Gems’

It’s easy to poke fun at Adam Sandler. His output in recent years has been largely of the “working vacation with my friends” variety, comedies that are basic and kind of lazy. Oh, and not particularly funny. Sandler has found a formula that works for him; the dude works only as hard as he has to, contenting himself with good enough.

Of course, it’s ALSO easy to forget that when Sandler is given the right material and given a proper push, he can be brilliant. It’s been a while, but we’ve finally got another great performance to add to the list.

“Uncut Gems,” directed by filmmaking brothers Josh and Bennie Safdie from a script written by the Safdies and Ronald Brownstein, is a visceral and gritty drama, a moment-in-time period piece set all the way back in the bygone time of 2012. It is a character study of a man with little character, a self-absorbed degenerate who can’t help but succumb to his own baser impulses. It is a brutal, ugly story, driven by a collection of terrible people, few of whom possess any kind of truly redeeming qualities.

Published in Movies
Tuesday, 07 January 2020 12:42

Holding a grudge against ‘The Grudge’

It’s never a good sign when a movie is released in early January. Traditionally, that stretch of the calendar is reserved for the films that, for whatever reason, studios have decided to abandon. They’re done, so they might as well be released; however, they drop with little fanfare, abandoned to fend for themselves against the remaining December blockbusters and the expanded releases of late-season prestige fare.

On a related note, I saw “The Grudge.”

This film – a remake of the 2004 Sarah Michelle Gellar vehicle of the same name, which was itself a remake of Takashi Shimizu’s 2002 original – is the epitome of an early January release. It’s an unnecessary remake of a mid-00s ripoff of an excellent Japanese horror film; a copy of a copy of a copy means we’re losing a little coherence.

Or a lot of coherence, because there certainly isn’t much in this new movie, written and directed by the much-better-than-this Nicholas Pesce. The story exists only to prop up a bunch of stitched-together jump scares. There’s little in the way of thoughtfulness, just a formulaic paint-by-numbers meander through the narrative; there’s an attempt to disguise the rudimentary nature of the plot via back-and-forth timeline jumping, but that only serves to further obscure any possibility of the audience engaging.

Published in Movies

Welcome to the first Maine Edge cover story of the Roaring (20)20s!

As such, I thought we might have some fun looking back at the last decade’s best cinematic offerings. I’ve been reviewing movies here since 2008. In the ‘10s, I wrote about movies roughly a thousand times. Yeah – I’m as shocked as you are. That’s a lot of ink spilled in celebration and derision of Hollywood’s finest.

So yes, while this story might be a little late to the party, it was important to me to share my Best of the Decade movie list. As per usual with this sort of feature, there’s a real chance that this list could be a little different depending on the day. However, this feels like the right list.

Here they are, in alphabetical order. Have a look!

Published in Cover Story

This isn’t going to be my usual movie review.

As you undoubtedly know, “Star Wars: Episode IX – The Rise of Skywalker” has landed in theaters, purporting to mark the end of the saga begun over 40 years ago. A saga that has been a part of my life for as long as I can remember.

Seriously - the first movie I ever saw (or at least, the first movie of which I have any memory of seeing) is “The Empires Strikes Back.” We were at the drive-in on outer Hammond Street; I was four years old, curled up under the rear windshield, half-dozing due to the lateness of the hour, yet unwilling to allow my eyes to remain closed as this marvelous thing unfolded before my eyes.

In the decades since, I have devoted considerable energies to the consumption of “Star Wars.” I watched the films of the original trilogy countless times on VHS. I paid multiple visits to theaters when the remastered versions returned to the big screen. I saw the prequels and convinced myself they were good even when in my heart I knew. And I’ve experienced with delight the recent reintroduction of new films.

Years of my life, shared with these people and places. And I’m hardly alone – there are millions of us out there, each with our own very specific connection to the Star Wars saga. So many people, all with a deep-seated devotion to the story; our feelings might be similar, but all are unique.

The uniqueness of those individual connections are a big part of why the response to “The Rise of Skywalker” – and really, to all the post-prequel films to some extent – has been so scattered. The truth is that we all bring our own feelings to the table when it comes to “Star Wars.” There’s no way for a piece of popular art to elicit the desired response from all those who seek it – it’s simply impossible.

Published in Movies
Monday, 23 December 2019 22:25

Who let the ‘Cats’ out?

Sometimes, you see a trailer for a movie that captures your attention for all the wrong reasons. You find yourself questioning what possible series of increasingly poor decisions would lead to a world in which this movie came to be. You’re asking fundamental questions like “How?” and – perhaps more importantly – “Why?”

Those are the feelings that bubbled up from deep inside most reasonable people upon first viewing the trailer for “Cats,” director Tom Hooper’s star-studded adaptation of the (somewhat bewilderingly) beloved Broadway musical. Watching CGI-blended cat/human monstrosities gambol and cavort across the screen for just those few moments raised far more questions than any piece of art could ever answer.

Here’s the thing – that ain’t even the half of it.

“Cats” is a tortured fever dream of a film, the sort of nightmarish cinematic experience that feels like the unholy offspring of a coked-up studio executive notes session and a dark ritual intended to summon forth the Elder Gods. I walked out of this movie expecting my phone to ring, with a voice on the other end speak-singing a semi-melodic song informing me that I would die in seven days.

We are all cursed. We are all damned. We are all Cats.

Published in Movies
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