SYNOPSIS: In “G20,” a new action thriller starring Oscar and Emmy winner Viola Davis, and now streaming on Prime Video, terrorists take over the G20 Summit in Cape Town, South Africa. American President Danielle Sutton evades capture and uses her military training to defend the captured world leaders and her family. “If you want to survive,” she says, “you’ll follow me.”
CAST: Viola Davis, Anthony Anderson, Marsai Martin, Ramón Rodríguez, Antony Starr, Douglas Hodge, Elizabeth Marvel, Sabrina Impacciatore, and Clark Gregg. Directed by Patricia Riggen.
REVIEW: It comes as no surprise that Artificial Intelligence is the weapon of choice for the “G20” baddies. Their evil plan to use AI to create Deep Fake videos of world leaders plays on Hollywood’s fear of the disruptive technology, which is odd because the movie, with its clichés and throwbacks to movies like “Air Force One,” feels like it could have been written by AI. It wasn’t, there are four “screenplay by” credits (Caitlin Parrish, Erica Weiss, Noah Miller and Logan Miller), but it certainly feels like the script originated with a prompt on ChatGPT.
Take the snarling bad guys for instance.
Little more than a list of modern grievances come to “life” they are bonded by a belief in a litany of fringe conspiracy theories and tote high caliber guns which they don’t know how to use (more on that later). Led by Rutledge (Antony Starr), they’re standard issue new world order villains straight out of central casting who use violence and AI to stage a global coup and spout meme-worthy sayings about “rebelling against world leaders who strip away the rights of their citizens.”
As President Danielle Sutton, Viola Davis delivers a standard issue action movie heroine. She can throw fists and, like so many action stars before her, is able to run through a hail of bullets unharmed. For some reason, the evildoers in movies like this shoot like their gun barrels are bent at a ninety-degree angle while her aim is true. Her character is all pluck, equally comfortable using her wits as she is pressing a hulking bad guy’s face on a hot grill.
Amid the chaos are her precocious teen kids, Serena and Demetrius (Marsai Martin and Christopher Farrar) who watch their mom kill the bad guys and joke, “Did you know she could do that all the time? Lucky we only got grounded.”
“G20” is a parade of cliches that leads up at an unlikely twist and a logic defying climax that only plays out in the way that it does to provide another opportunity for some showy action theatrics. By the time the end credits roll it’s clear that AI isn’t the only threat facing Hollywood. Unoriginality is.
LOGLINE: In “Thelma,” a new comedy thriller now playing in theatres, June Squibb plays a 93-year-old grandmother who falls prey to a grandma phone scam. Conned out of $10,000, with the help of a friend (Richard Roundtree) and his motorized scooter, she sets out to find the scammers and get her money back by any means necessary. “What about my money?” she says. “Am I supposed to just let them have it?”
CAST: June Squibb, Fred Hechinger, Richard Roundtree, Parker Posey, Clark Gregg, Malcolm McDowell. Written and directed by Josh Margolin.
REVIEW: “Thelma” is something you don’t see very often, a thriller starring a 93-year-old action hero. From a low-speed scooter chase and a show down with the bad guys, to the acquisition of a weapon and a high-octane heist musical score, the movie has all the elements of an edge of your seat suspense film.
But its biggest asset is Squib, who brings steely determination, vulnerability and humor to the title character. She may not exactly be Ethan Hunt, but she’s more endearing and delightful than Jack Ryan and Jason Bourne combined. She’s easy to root for, even if her high stakes mission seems impossible.
At her side is Ben, Richard Roundtree, a.k.a. Shaft, in his final role. His presence is a cool callback to action movies of years gone by, but here he’s a charismatic sidekick, allowing Squibb to mostly take matters into her own hands.
There are also subplots involving Thelma’s grandson Daniel (Fred Hechinger) daughter Gail (Parker Posey) and son-in-law Alan (Clark Gregg), but at the film’s core is an exploration of old age, and how, as Ben says, “People these days don’t care about old things.” “Thelma” confronts that idea, dismissing it with panache, humor and some genuine excitement.
“Being the Ricardos,” the new Aaron Sorkin directed look at the most famous television couple of the 1950s, in theaters this weekend and on Prime Video December 21, is a character study that examines one very bad week on the sitcom set of “I Love Lucy.”
In 1953 “I Love Lucy” was watched by 60 million people a week. The show was so popular that department stores had to change their hours. The big box stores used to stay open late on Mondays but switched to Thursdays because no one shopped on Monday nights while Lucy, Desi, Fred and Ethel were on.
Real life couple Lucille Ball and Desi Arnaz, played in the film by Nicole Kidman and Javier Bardem, are television’s biggest stars as they prepare to shoot episode four of their second season. Tension hangs heavy over the set, the result of two news stories about the couple.
First is Confidential Magazine, a sleazy tabloid that specializes in scandal and exposé journalism, who accuses Desi of having an affair in a lurid article titled “Desi’s Wild Night Out.” More damningly, another report suggests Lucy is a communist, under investigation by the FBI and the House Un-American Activities Committee.
The accusation against Desi causes trouble at home but even a whiff of communism around Lucy could lead to a stink that could ruin both their careers. The Hollywood blacklist looms.
“You and me have been through worse than this,” Desi says reassuringly.
“Have we?” she asks.
“No.”
Set up like a pseudo-documentary, modern day talking heads keep the story moving forward while flashbacks flesh out the action. We learn about how the couple met, their volatile relationship—”They were either tearing each other’s clothes off,” says writer Madelyn Pugh (Linda Lavin), “or tearing one another’s heads off.”—and how the show and Lucy’s perfectionism are more than just a professional concern. “I Love Lucy” was the glue that held her marriage together, especially during troubled times.
It can be tricky portraying familiar figures on screen. Through endless re-runs Lucille Ball’s face and comedy are iconic, but Kidman and Bardem, wisely chose not to do imitations of the stars. They have the mannerisms and a passing resemblance to Lucy and Desi but this is about character not caricature. For the most part this is a backstage drama, and wisely stays away from restaging scenes from “I Love Lucy” that are burned into people’s imaginations. What we get instead are interpretations of these characters that corral their collective charisma, hot tempers and talent.
What emerges is a scattershot portrait of fame, creative control and the power of the press. Sorkin juggles a lot of moving parts, but by the time the end credits roll it’s difficult to know exactly what point he is trying to make. Ball is given the credit she deserves as a trailblazer and Arnaz’s business acumen is celebrated, but the other, colliding plot points feel cobbled together. Any one of them—the communism scare, Desi’s alleged infidelity, Lucy’s pregnancy or the cast in-fighting—could have sufficed as a compelling backdrop to the Lucy and Desi story. Instead, the movie feels overstuffed.
“Being the Ricardos” does justice to the legacy of its subjects, and features pages of Sorkin’s trademarked snappy dialogue, but splinters off in too many directions to be truly effective.
From CTV News Channel: Richard sits down with Lashana Lynch, who stars alongside Brie Larson as ace pilot and single mom Maria Rambeau in Captain Marvel.
The tagline for “Captain Marvel,” the latest Marvel origin story, is “Higher. Further. Faster.” but I would like to suggest another. “In Space, Everyone Can Hear You Scream Whee!” As Captain Marvel (Brie Larson) pierces our atmosphere, her banshee cry of sheer exhilaration pierces the soundtrack. “Whee!” She’s having fun and so should fans of the high-flying character.
There’s a bit of backstory. “Captain Marvel” begins, as all good superhero flicks do, on an alien planet. Hala is the home of the Kree, a race of powerful ETs ruled by an AI leader called the Supreme Intelligence (Annette Bening). Among the inhabitants of the planet are Yon-Rogg (Jude Law), mentor to Vers (Brie, not yet dubbed Captain Marvel). She is being trained as part of an elite band of space cops, who, shooting energy bolts from her wrists, tracks and hunts shapeshifting creatures called the Skrull. An insomniac, she is haunted by nightmares and mysterious images of another life.
To find context for her existence she travels to C-53—earth—during the Clinton years. There, while hunting down Skrulls who are searching for a weapon that would make them unstoppable in the universe, she meets Nick Fury, Agent of the espionage agency S.H.I.E.L.D. (Samuel L. Jackson), who becomes entangled in her hunt for the earthbound Skrulls—including the world-weary Talos (Ben Mendelsohn)—and her search for her true identity.
“Captain Marvel” begins with a trippy, time-warping introduction to Vers’s past. It’s an orgy of fast cuts and establishes the film’s spirited tone. There’s a lot going on here, maybe too much, but at least it rips along like a cheetah attacking its prey. Things slow down once the film lands in 1995 California and the “Terminator-esque” story of a benevolent alien with superpowers kicks in.
The high points are lofty.
Larson finds the right tone, playing someone grappling with two identities, otherworldly and stoic one moment, swaggering playfully the next. Vers is a total girl power hero, with no love interest, other than a female best friend, she kicks but while the soundtrack blares “I’m Just A Girl” and tell her male mentor, “I have nothing to prove to you.” Larson keeps her interesting even though through much of the film Vers isn’t quite sure who she is or where she belongs in the universe.
Further separating her from her superhero colleagues is a purpose driven mission not born out of revenge but by powerful emotions and a sense of loss. Those motivations alone give the film a slightly different feel from others in the Marvel family.
Visually Vers, harnessing all the hurt of all the times she was told she wasn’t good enough or that girls shouldn’t try to do boy stuff, is a powerful feminist statement that helps drive the story and define the character. That it’s visually stunning is a bonus.
Supporting actors Jackson (we finally learn the unlikely why Fury wears an eye patch) and Mendelsohn find a balance between the film’s dramatic, action and lighter scenes.
Co-directors Anna Boden and Ryan Fleck, handle the character work with aplomb. Their previous films, indies like “Half Nelson” and “Mississippi Grind,” are studies in nuance, a trait lost in “Captain Marvel’s” larger set pieces. The action—and there is plenty of it, tends to be of a generic frenetically edited style. The convoluted origin story mixed with the cluttered action sequences suck some of the air out of the theatre but their take on the superhero character as both an outsider and one of us is as refreshing as it is unusual. “Whee!”
Brett Dalton knows he’s the gent Agent of S.H.I.E.L.D. fans love to hate. “I get boos,” he says.
As Agent Grant Ward he spent most of the show’s first season as a gruff, but good guy. Then in a late season development, it was revealed that he was actually a spy working for HYDRA, a criminal organization dedicated to global domination.
“I get some, ‘I trusted you! I feel betrayed. My mother still believes in you!’ I get the whole gamut. It’s kind of all over the place for me. For the other actors it’s more like, ‘Oh my gosh, I love you on the show.’ For me it’s more like, ‘I love-hate you.’ I get a little of both.
“I think Ward is a character they love to hate. It’s not boo against Brett Dalton, it’s boo against the character.”
The actor, who holds a masters degree from the Yale School of Drama, had no idea there were big changes in store for Agent Ward.
“I’m glad they didn’t tell me,” he says, “because I really would have tipped my hand. They told me the episode before and there were a couple of shoot days left and even in those shoot days it kind of did me in mentally because I was thinking, ‘Am I listening like a spy? Am I giving too much away?’ All I was doing was listening in the scene. Standing and listening. But the way in which I was listening, I wasn’t so sure about.”
The fan reaction to his character’s double cross was swift.
“In the beginning some of the tweets were like, ‘I want to punch @iambrettdalton in the face.’ They didn’t say Grant Ward, they tagged me and said they wanted to punch me in the face. I thought they could have just typed in Grant Ward.”
As the show goes into its second season Dalton tips his hat to the fans. Without them the show wouldn’t exist, literally.
When Agent Coulson, played by Clark Gregg, was killed by Loki in The Avengers movie it triggered a worldwide ‘Coulson Lives’ crusade that inspired Marvel to create the show.
“The whole ‘Coulson Lives’ campaign was started by the fans,” he says, “and became this really fun, underground stencil that was seen around the world. Then Marvel got wind of it and decided to make a whole TV show around Colson putting together a ragtag group of people trying to save the world each week. The show exists because of the fans. And that’s the reason we have season two as well, because we have such amazing fans who tune in each week and follow everything and are so eager about the whole thing, They’re why we do what we do.”
SYNOPSIS: In “G20,” a new action thriller starring Oscar and Emmy winner Viola Davis, and now streaming on Prime Video, terrorists take over the G20 Summit in Cape Town, South Africa. American President Danielle Sutton evades capture and uses her military training to defend the captured world leaders and her family. “If you want to survive,” she says, “you’ll follow me.”
