Less an artistic leap forward than a strictly commercial one, Widows, director Steve McQueen’s (12 Years A Slave, Shame, Hunger) six-year-in-the-making follow-up to the 2012 Best Picture winner, 12 Years a Slave, tries to strike a path between The Wire-influenced social and political commentary and a conventional heist thriller with a semi-subversive gender twist. It almost succeeds, largely due to McQueen’s keen eye for visual composition, intuitive sense of pacing, and an incredibly strong, talented cast that begins, but doesn’t end, with Academy-Award Winner Viola Davis (Fences), Australian actress Elizabeth Debicki (The Night Manager, The Great Gatsby), Michelle Rodriguez (the never-ending Fast & Furious series), and Tony winner Cynthia Erivo (Bad Times at the El Royale). And that’s just the top-line cast. Several paragraphs can be devoted to every perfectly cast, note-perfect performance in Widows. (more…)
When Fantastic Beasts and Where to Find Them went all Scooby Doo on moviegoers two years ago, swapping out a Colin Farrell mask for a Johnny Depp, a hundred million Harry Potter fans cried out in agony and disappointment. Whatever his personal failings (many, by tabloid accounts), Depp had long lost his luster as a genre leading man, devolving into one of the highest paid cosplay performers in Hollywood. It’s not that Depp, once considered a talented, if eccentric, performer, can no longer act. It’s that Depp has lost interest in acting ages ago, exchanging goofy accents, over-broad physical acting in exchange for one lucrative paycheck after another. Not that there’s anything wrong with that, of course, but Depp and his steady descent into a caricature of himself mirrors the diminishing returns of Fantastic Beasts and Where to Find Them and Fantastic Beasts: The Crimes of Grindelwald, a prequel/spin-off series set in J.K. Rowling’s Harry Potter cinematic universe. (more…)
What the world didn’t need – and quite possibly, didn’t want – was another adaptation of Dr. Seuss 1957 stone-cold, illustrated classic, “The Grinch Who Stole Christmas.” After all, we already had the perfect expansion of Dr. Seuss’ story more than 50 years ago, a 26-minute TV special directed by Chuck Jones and narrated by horror icon Boris Karloff. But as we’ve learned over and over again, where there’s IP (intellectual property), there’s a major studio eager to bring another adaptation (remake, reboot, reimagining) to the big screen and separate nostalgic parents and grandparents, children and grandchildren, from their bank and debit cards. And with the Illumination Entertainment, the fine people who brought the Minions to vivid, if annoying, life in the Despicable Me series and their own spin-off, a class act like Dr. Seuss and the Grinch seemed like a no-brain, surefire excuse to print (digital) money. Unfortunately, the aggressively mediocre, ultimately forgettable results match the obvious lack of ambition on the part of Illumination’s executive board. (more…)
Birds of Prey has their villain, and he’s become one of the top-tier rogues in Batman’s gallery. Part-mobster, part-supervillain, he’s been featured in comics, cartoons, and video games, but now Black Mask makes his live-action debut as he goes toe-to-toe with the Birds of Prey. Created in 1985, not many may be familiar with Black Mask despite his recent surge in popularity. What makes Black Mask a contender among the likes of The Joker, Penguin, Two-Face, and Riddler? NerdBastard’s gives an overview of who Black Mask is and what to expect from the masked gangster and the A-List actor cast in the Birds of Prey movie.
When it’s not absorbing rival movie companies (20th Century Fox, LucasFilm, Marvel) or expanding its TV empire (ESPN), Disney’s trawling the public domain archives for exploitable intellectual property (IP), like, for example, The Nutcracker and the Four Realms, a loose adaptation of E.T.A. Hoffman’s classic 19th-century short story-turned-perennial ballet that probably should have skipped multiplexes and premiered on the Disney Channel on a long holiday weekend. A mid-production switch from one veteran filmmaker, Lasse Hallström (The Cider House Rules, My Life as a Dog), to another veteran director, Joe Johnston (Captain America: The First Avenger, Jurassic Park III, The Rocketeer), should have given Disney execs a clue that they should have shelved their Nutcracker adaptation at worst or skipped a theatrical release altogether at best, but apparently common sense went missing on whatever day the decision was made to release The Nutcracker and the Four Realms a few weeks before the long Thanksgiving weekend. (more…)
One-time Spartan king and opera phantom Gerard “Gerry” Butler continues his descent into B-movie mediocrity and – eventually – straight-to-VOD obscurity with Hunter Killer, a lazily scripted, short-on-logic, long-on-absurdity submarine “thriller” (mostly minus the thrills) released during the end of a month known for Halloween-themed horror. Maybe the studio behind Hunter Killer decided to risk a late October release as a bit of counter programming. Or maybe they thought Butler’s name – combined with recent Academy Award winner Gary “Paycheck” Oldman and rapper-turned-actor Common – would be enough to recoup their investment in or even make a modest profit from Hunter Killer before it inevitably sinks into the deepest of ocean depths, never to be seen or heard from again (except on late-night basic cable as a perfect antidote for lifetime members of the insomnia club).
It took forty years, countless sequels, a reboot, and a sequel to that reboot, but fans of John Carpenter’s seasonal horror classic, Halloween, finally have a sequel worthy of the 1978 original that launched the slasher sub-genre. With his dirty mechanic’s overalls, frozen William Shatner death mask, and a toupee to match, Michael Myers and his knife embodied the boogeyman for generations of horror fans, but each sequel – not counting the in-name-only-sequel, Halloween III: Season of the Witch –tarnished and diminished the legacy of Carpenter’s one-of-a-kind original. But where there’s Jason Blum and his horror factory, Blumhouse Productions, there’s a way and the way pointed to an unlikely collaboration between indie auteur David Gordon Green (Stronger, Our Brand is Crisis, Joe, Prince Avalanche, George Washington), writer-comedian Danny McBride (Vice Principals, Eastbound & Down), and onetime “scream queen” Jamie Lee Curtis. The result will go down as a horror classic or near classic in its own right, the perfect, 40-years-in-the-making bookend to Carpenter’s film. (more…)
As nerdy fans wait for Captain Marvel to come out in March, their heads are starting to swim with all the possibilities, mysteries, and theories swirling around the MCU. After all, Captain Marvel leads into Avengers 4, the film that hopes to save half the universe. Will everyone come back? Will they not?
Moreover, Captain America himself is confirmed to be leaving the role soon. For the conspiracy theorists, all of this just begs contemplation. Where will the MCU go after Avengers 4?
Well, this writer has an idea and even a thesis. You see, there have been small developments in the films pointing to a very popular comic becoming the new face of the MCU. It has been slowly building and, with Avengers 4, might actually come to fruition. What might be this comic? Well, Young Avengers, of course.
Spoiler alert: Contrary to Stanley Kubrick-obsessed conspiracy theorists, a lunar module (call-sign “Eagle”) carrying two Earth-born astronauts landed on the moon fifty years ago next July. The two Americans, Neil Armstrong and Buzz Aldrin, took “one small step for [a] man and one giant leap for mankind.” They became instant heroes and icons in the process. They were both alone and not alone. The United States, then the wealthiest country in the world, devoted roughly 5% of the federal budget to the Cold War-era space program. We landed on the moon because we could, because we wanted to be first, but mostly to beat the Soviets (and, of course, communism), and Armstrong, the epitome of America’s founding myth (rugged individualism, pioneer spirit, self-made men and woman) would seem like a perfect or near perfect subject for a big-budget, Hollywood biopic. Or at least, that’s what director Damien Chazelle (La La Land, Whiplash) and writer Josh Singer thought when they decided to work together and bring Neil Armstrong to life in First Man. They were, at best, half-right. (more…)
Over the weekend, Venom, the latest film to be released that is based on a popular Marvel Comics character, was unleashed on the world, to mixed reviews. Even before the film was released, it was being slammed as the new Catwoman, which, in case you may have somehow erased it from your mind, just so happens to be considered one of the worst comic book adaptations ever made. And the negative reviews didn’t end there. As the first critic reactions hit social media days ahead of its October 4 release, it seemed that audiences were overwhelmingly underwhelmed with Sony’s latest effort to write a Marvel story. But is the movie really that bad? Or, is it simply that movie audiences have forgotten the reason that they go see a movie? (more…)