The latest in the longer-by-the-minute line of live-action versions of old Disney favorites, Dumbo also marks the return of director Tim Burton to the Disney fold since his underrated full-length adaptation of his short Frankenweenie, which I just loved. Sadly, Dumbo is a bit more by-the-numbers, hamstrung in part by its necessity of hewing as close as possible to the source material (minus all that iffy "Jim Crow" stuff, of course), though it's not without its moments.
For one thing, the cast is pretty great, including a virtual who's who of past Burton collaborators, such as Michael Keaton (Batman), Danny DeVito (Batman Returns), Alan Arkin (Edward Scissorhands) and Eva Green (Dark Shadows, Miss Peregrine's Home for Peculiar Children). There's also a remarkably self-assured debut performance from young Nico Parker, daughter of Westworld actress Thandie Newton, and the usual cast of oddball supporting performers, albeit warranted, being as how the film revolves around a traveling circus.
Perhaps needless to say, Burton can do this sort of thing in his sleep, and that's, sad to say, a big part of the problem. Though Burton is able to occasionally conjure up his particular brand of dark magic- Keaton's World's Fair-esque amusement park, Dreamland, is a wonderful concoction of nightmarish imagery, for instance- all too often he seems to be going through the motions, at best.
Still, the film is worth seeing for Burton and Disney fans alike, and there's no denying that the CGI here, particularly in regards to Dumbo himself, is pretty remarkable. There's no "uncanny valley" shenanigans here, as the sad-eyed titular elephant can't help but tug at the heartstrings of anyone that has a heart, especially when abused or torn away from his mom. The song "Baby Mine" makes a tear-jerking appearance as well, but most of the other songs are jettisoned- though there are nods to them in Danny Elfman's typically grandiose score.
All in all, it's worth a look to people inclined to see it in the first place, but if you were on the fence in the first place, then the end result probably won't change your mind, and purists will probably remain true to the original, iffy un-PC material be damned. Still, Parker's one to watch- she's one solid role away from full-on child stardom, mark my words- and if you're a longtime Burton fan, there's plenty to love here, even if it doesn't land among his best efforts. For the rest, maybe stick with the more properly awe-inspiring live-action Lion King.
A remake of the 2011 French film The Intouchables, The Upside is also based on the true-life story of Philippe Pozzo di Borgo, a billionaire who became a quadriplegic after a paragliding accident, here slightly tweaked to make the main character American because that's how we do in the States. 😏
Still, said character is played by much-beloved character actor Bryan Cranston, so one could do a lot worse. However, his caregiver is played by comedic actor Kevin Hart, so, for some people, that might be enough to render the end results null and void. I myself don't have anything against the actor, though I also can't claim to seek out anything he does, either. Basically, I only saw a Hart film because I wanted to see a Cranston one, which I suspect will be the case for most here as well.
Hart plays a caregiver hired against most everyone's better judgment, including Hart's character, Dell Scott, himself, who showed up thinking the job was for a custodial position, and, by his own admission, knows next to nothing about caring for someone like Lacasse, Cranston's character. Nevertheless, Lacasse, wanting to get under the skin of his assistant, Yvonne (Nicole Kidman), and finding Scott amusing to be around, hires him anyway.
Things go predictably from there, as the two bond and Scott helps Lacasse learn to love life again, albeit not without some complications along the way or we'd have a pretty boring movie. In the end, the two eventually become close friends, and Lacasse learns to lighten up a bit, in spite of his admittedly overwhelming situation.
As you might guess, this is all pretty straight-forward, and follows the typical beats of this sort of "buddy" movie, which isn't too far removed from a rom-com scenario. You've got your "meet cute," followed by the two falling for each other (albeit platonically), then obstacles conspire against them to tear them apart before they manage to resolve their differences and supposedly live happily ever after- you know the drill.
Be all that as it may, it's a moderately enjoyable flick with a solid-as-always performance from Cranston, an able assist from Kidman, and Hart being Hart, albeit somewhat diluted for more mainstream purposes, so that he doesn't overwhelm the proceedings. For some, a little Hart goes a long way- for those people, I can say that he's not quite as in-your-face annoying as he can be in more traditional comedic offerings. He's more tempered and slightly reserved, as more befitting of a film like this.
The end result is admittedly a bit pat, and, like I said, easily predictable, but it's still a decent watch, if mostly because of Cranston, who manages to give a really affecting performance, in spite of the obvious limitations of playing a character that can't move his arms or legs. I can certainly see why he took on the role- it's as much a challenge than anything else. Challenged accepted- and triumphed over.
Perhaps needless to say, this won't be to everyone's liking, but if it sounds interesting to you, you'll probably dig it. If not, I'd advise taking a hard pass- there's nothing here so radical it will likely change your mind about Hart- or anyone else involved, for that matter.
Another film based on true events, Detroit tells the story of the Algiers Motel incident, which took place during the 12th Street riot in 1967, where emotions ran high as mostly white cops tried to maintain the peace in a mostly black neighborhood, with resentment all around among everyone concerned.
Be that as it may, what happened was a travesty of justice, as a group of mostly racist cops- and one black security guard- after mistaking the firing of a starter pistol as a sniper taking shots at them, took it upon themselves to investigate the motel in question, which is mostly populated by black men, along with a couple of white women who are visiting the area. Things quickly spiral out of control, as the cops take charge, lining everyone up in the hallway for questioning.
It isn't long before someone gets themselves killed- namely the one who fired the pistol. Unfortunately, the cops refuse to believe that there still isn't a sniper among the group and they can't find a gun, which only compounds the situation, as no one knows where it is with the actual culprit dead. Before long, others are hurt, and, in some cases, killed, and things definitely get worse before they get better- if they can be ever be said to have gotten better for anyone concerned.
After said incident, there's eventually a trial, but I probably don't need to tell you what ends up happening- the more things change, the more they stay the same. Obviously, that lends the film a relevancy it might not have otherwise had, but it's still a worthy story that deserves to be told, regardless. I gather that some have quibbled about certain specifics being wrong, and others being left out altogether. I suppose that's to be expected, but a film can only do so much before one has to turn to more reliable sources for the "real" story.
Be that as it may, it's a solid film that marks another win for Oscar-winning director Kathryn Bigelow, albeit not at the box office, where it only grossed around $24 million on a roughly $35-40 million budget. Still, critics mostly praised it, and it's well-worth a watch, thanks to Bigelow's assured direction and a rock-solid cast that includes John Boyega (the current Star Wars trilogy), Hannah Murray (Game of Thrones), Will Poulter (The Maze Runner series), Kaitlyn Dever (Booksmart), Jason Mitchell (Straight Outta Compton) and Anthony Mackie (Falcon in the Marvel-verse).
I'll allow that it's a tough watch, which means it won't be for everyone, but if this piques your interest, you won't be disappointed. It's very well done and, as I said, as relevant to these times as if it happened yesterday- which might well be the case again, given the troubled times we live in at the moment. Definitely worth a watch, regardless.
Another film dealing with race relations, albeit in a completely different way, Blindspotting- you'll just have to see the film to see what the title means- deals with the troubled final days of probation of convicted felon Collin Hoskins (Daveed Diggs, of Hamilton fame), who only has to make it through a few more days before his probation is lifted- but can he make it, with danger seemingly around every corner?
Diggs, also known for his recurring role in the TV show Black-ish, co-wrote and produced the film along with his co-star Rafael Casal, the two of whom grew up in the San Francisco Bay area of California and felt that it had often been misrepresented in film. Casal, as in real life, plays the part of Miles, Collin's best friend since childhood, who has a penchant for getting the two of them in trouble, which is the last thing Collin wants at the moment.
As things get progressively worse for Collin, to say nothing of Miles, who has a hairy incident involving a gun- two of them, actually- he does his best to rise above and keep his head above water, in spite of it often seemingly like forces are conspiring against him to send him back to jail. In spite of the serious subject matter at hand, the film is actually quite funny, thanks to the easy chemistry between Diggs and Casal, who ably riff off of one another in quick, often fast-and-furious exchanges that even manage to incorporate Diggs' interesting rapping style.
Indeed, wait until you see the finale, which has Collin rapping at a cop at gunpoint, trying to make the confused fellow see things from his perspective. I don't know how realistic the scenario is, but it is certainly like nothing I've ever seen before, that's for sure. As is the movie in general, which also deals with gentrification and how that affects the black communities being taken over, typically by hipster-types, which is something I don't think I've seen portrayed quite this way in a film.
The end result is highly original, often fascinating, and makes you think almost as often as it makes you laugh. The core relationship of Collin and Miles is really endearing, and even if the latter can be really frustrating at times, you can't help but love the well-meaning, if often clueless, would-be gangsta that is really a big old softie at heart, even if he occasionally is given to outbursts of reckless violence. I loved the film, and can't recommend this one enough, especially if you love "buddy" films about mismatched pairs.
Another flick based on a true story, Fighting with my Family tells the rags-to-riches story of WWE wrestler Paige, who comes from a wacky family that have built what little success they have had on staging wrestling shows in the Norwich, England area in which they live. Avid fans of the WWE, daughter Saraya (Florence Pugh, on a roll as of late, choice-wise, including the recent horror flick Midsommar and a plum role in the upcoming Black Widow Marvel movie) and son Zak (Jack Lowden, Mary Queen of Scots) are thrilled when they land an audition for the wrestling empire.
However, trouble arises when Saraya makes it past the first round and Zak doesn't. Making matters worse, the other wrestlers, mostly American, don't know what to make of Saraya's surly tomboy attitude and Goth-style looks, especially the women, who all look like the fitness models they mostly are. This first leads Saraya to change her look completely, as well as her name, and then to wonder if she's cut out for the wrestling life altogether when things don't really improve from there.
The newly-dubbed Paige considers quitting, much to the anger and dismay of her parents (a game Nick Frost, of Shaun of the Dead, and a near-unrecognizable Lena Headey, of Game of Thrones) and even her left-behind brother, with whom she's been at odds with since making it to the next round when he didn't. Will she be able to pick herself up and boot and rally to the ring itself, or will she hang it up for good?
Well, if you recognize the name Paige, then you already know the answer to that one, but here, it's the journey, not the destination. Most of us already know the end, so the fun- and the drama- comes from seeing how Paige made it from Point A to Point B, given her humble background. The end result is sort of akin to a more down-home GLOW, if the focus was strictly on one of the wrestlers, i.e. the fish-out-of-water Rhonda "Britannica" Richardson (Kate Nash), by way of the more Gothy Sheila "the She Wolf" (Gayle Rankin).
The film was produced by Dwayne "The Rock" Johnson, himself a former WWE wrestler, of course, and Stephen Merchant, of The Office fame, who also wrote and directed the film. Both also have small roles in the movie, with The Rock playing himself, naturally. It's a lot of fun, especially if you're a wrestling fan, but even if you aren't, really. As with GLOW, it's the human story that matters more here, not the wrestling action, as fun as that can be.
Definitely check this one out, especially if you're a fan of Pugh, as I definitely am. I should also mention that it's the best thing star Vince Vaughn has done in years, for whatever that's worth. While it takes some liberties with the story, as to be expected- Paige never actually met The Rock until after he saw the documentary about her of the same name in 2012, she failed her initial tryout and didn't make the team until her second-go-round, etc.- overall, the film does a good job dramatizing the material in a fun, relatively accurate way. I really loved it, and Pugh is 😍.
Yet another film inspired by a true story, this one would be hard to believe if it weren't actually true. The always-excellent Laura Dern plays Laura Albert, a writer that has written several books under the pseudonym of fictional creation JT LeRoy, aka Jeremiah Terminator LeRoy, a literary persona Albert created in order to give voice to some of her more private semi-autobiographical works, albeit under the guise of fiction.
LeRoy becomes a literary sensation with her book Sarah, forcing the issue of him/her making public appearances. Not wanting to expose her real identity to the world, Albert instead hires her sister-in-law, Savannah Knoop (Kristen Stewart, a long way from Twilight) to pose as LeRoy, while she poses as her best friend and roommate, the British Speedy, managing to dupe everyone concerned in the process, including an actress, Eva (Diane Kruger, Inglourious Basterds) that was likely inspired by Asia Argento, who starred in and directed the film adaptation of LeRoy's second book, The Heart is Deceitful Above All Things.
As crazy as all this sounds, most of it actually happened- though, as to be expected, certain names and incidents were tweaked to avoid stepping on anyone's feelings, hence the whole Asia-becoming-Eva thing. The end result isn't quite as good as it could have been, given the incredible real-life story, but Dern and Stewart (yes, Stewart, who's actually made some pretty solid choices, post-Twilight) are both pretty great and make it worthwhile overall, even when things get a little too poky for their own good.
The cast also includes Courtney Love- among those completely duped by LeRoy IRL (LeRoy even wrote liner notes for one of Hole's CDs)- Jim Sturgess (Across the Universe) as Albert's husband and Savannah's brother, who ends up blowing the whistle on the whole situation when he sees what a toll its taking on his sister; and Kelvin Harrison Jr. (It Comes at Night) as Savannah's boyfriend, who isn't too crazy about the situation, either.
It's all very well-acted, the soundtrack is great, and it has its moments, though not as many as I would have liked, having also been a fan of LeRoy's work, and by extension, Albert. Still it's just fascinating to keep you watching, at least if this seems like it would be interesting to you. A tighter script would have certainly helped, that's for sure. Ultimately, it's a decent enough film that could have been a whole lot better in the right hands.
Last and probably least is The Beach Bum, the latest from laconic-but-controversial filmmaker Harmony Korine, of Kids and Spring Breakers infamy. Korine wrote the film after spending an extended period of time in Florida, also the setting of the latter film. Basing it on a group of friends he made in the area, Bum revolves primarily around Moondog (Matthew McConaughey, in the role he was born to play), a poet that is mostly coasting on past laurels and his rich wife Minnie (Isla Fisher, Tag), who funds his extended adventures elsewhere, the two basically having an open marriage.
When tragedy strikes and Moondog is forced to put up or shut up- basically, if he doesn't turn in a new book, he'll be broke, and possibly in jail for his debauched lifestyle, as the local judge is running out of patience- he goes on yet another series of adventures in hopes of helping inspiration strike.
Said shenanigans involve Lingerie (Snoop Dogg, basically playing himself, but as a singer/drug dealer), Flicker (Zac Efron, in full-on party bro mode), Captain Wack (a welcome return from Martin Lawrence, and arguably the funniest thing in the movie), and his literary agent, Lewis (Jonah Hill), who is likewise running out of patience with Moondog. Your own level of patience may wholly depend on your opinion on the cast, which also includes a cameo from Jimmy Buffett- who duets with Snoop!- for whatever that's worth.
I didn't hate it, but I also wasn't exactly in the mindset for it, which is to say, I wasn't blasted out of my gourd when I was watching it. If you lean in such a direction, you might like it a lot more than I did. For the record, I did love Spring Breakers, which had a similar free-form vibe, but a darker tone, though this tale isn't without its dark side. That said, a little of McConaughey's perpetually tanked protagonist goes a long way, or will for some, depending on how you feel about him.
Just don't expect much in the way of plot, and there's a whole lot of stuff that doesn't quite add up if you think too hard about it. Obviously, Korine wasn't making this for those who think long and hard about their cinema, so it's hard to fault him for succeeding in what he set out to do: make a fun stoner movie for stoners. Others need not apply, really.
Well, that about does it for what I've been watching lately. Like is said, next week I'll be returning to my old format for a while, so those of you who missed it, have no fear- my old-school reviews are just around the corner. Thanks, in the meantime, for hanging in there, and, as always, thanks for reading! 😇
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