SYNOPSIS: In “Mickey 17,” a new sci fi black comedy from Oscar winning director Bong Joon-ho, and now playing in theatres, Robert Pattinson plays an “expendable worker” who takes on dangerous jobs on the outer space colony Nilfheim. “You’re an Expendable,” he’s told. “You’re here to be expended!” If he dies—which is likely—he is regenerated and sent back to work. When one of his clones, Mickey 17, is replaced before death and makes his way back to the colony, the two Mickeys must fight back or be destroyed.
CAST: Robert Pattinson, Naomi Ackie, Steven Yeun, Toni Collette, and Mark Ruffalo. Directed by Bong Joon-ho.
REVIEW: An almost unclassifiable genre piece, “Mickey 17” has elements of sci-fi, comedy, drama, mystery, social commentary and suspense and more Robert Pattinsons than you can shake a stick at.
Fleeing a loan shark who threatened to hunt them down to the ends of the earth, Mickey Barnes (Robert Pattinson) and his best friend and business partner Timo (Steven Yeun) sign up for an outer space expedition to the human colony Nilfheim. “Nothing was working out,” Mickey says, “and I wanted to get off Earth.”
As Timo trains to be a pilot, Mickey becomes an “Expendable,” a disposable crew member, used for experiments, who when, and if, he dies, can be “reprinted” with his memories intact. “Every time you die,” he’s told, “we learn something new and humanity moves forward.”
As Mickey repeatedly dies and is reborn, all other life and death on Nilfheim is curated by Kenneth Marshall (Mark Ruffalo), a vainglorious politician with sinister intentions for his new society.
When the seventeenth iteration of Mickey is presumed dead—“Even on my seventeenth go around I hate dying,” he says.—and replaced by Mickey 18, Nilfheim’s “no multiples” rule is inadvertently broken. “In the case of multiples,” Marshall says, “we exterminate every individual.”
With dueling Mickeys causing trouble for Marshall, a new threat emerges, an alien big bug life form called “creepers” that may be the key to the survival or destruction of Nilfheim.
Oscar winning director Bong Joon-ho crafts an absurd story with serious messages about identity, survival, and colonization. Based on the novel “Mickey7” by Edward Ashton, it’s a farce, and like any good farce, it aims to give you something to think about once the end credits have rolled.
Buried beneath Pattinson’s charmingly nerdy performance and the film’s sci fi antics are heavy-weight, philosophical questions regarding what makes us human and what it means to really feel alive. Is it our physical being, our memories or our ethics?
From a world building point of view “Mickey 17” ponders colonial cycles of violence and authoritarianism. It may be in the dark outer reaches of the universe, but it is a world Bong Joon-ho has essayed before in films like “Parasite,” “Snowpiercer” and “Okja.” His best works are futuristic cautionary tales that hold up a mirror to current society. No matter how fantastical the setting, the very human follies of class inequality, governmental ineptitude and broken social systems are front and center.
But Boon doesn’t overwhelm with ideology.
“Mickey 17” continues with his pet themes, and while the story gets muddled by times, the movie impresses with its originality and commitment to entertaining while firing up the synapses.
“Poor Things,” a new Gothic drama starring Emma Stone, is one unique woman’s journey through science, sex and self-discovery.
Based on Scottish writer Alasdair Gray’s 1992 novel, and set in 19th century London, the story focusses on Bella Baxter (Emma Stone), who, when we first meet her, is a fully grown woman with the mind of a child. Her “mental age and body are not synchronized,” says her guardian, Dr. Godwin Baxter (Willem Dafoe) a.k.a. “God,” a disfigured man of science with an unconventional mind.
They live in a lavish home, which also houses Godwin’s menagerie of strange animals, like a half chicken, half dog, creations right out of the Island of Dr. Moreau, and an ever-patient housekeeper who cleans up after Bella’s frequent temper tantrums.
When Bella isn’t acting out, she soaks up knowledge like a sponge, wearing her curiosity like a badge. To chart her progress Godwin recruits his protégé Max (Ramy Youssef), a young scientist with an open mind and an open heart.
As Max develops feelings for the young woman, Bella becomes curious about the world outside the walls of Godwin’s home. She gets the chance to explore with lawyer Duncan Wedderburn (Mark Ruffalo), a flamboyant character who accompanies the now free-spirited Bella off on a romantic, picaresque excursion to Lisbon, Portugal. For the rapidly developing young woman, everything is new and she dives into every experience, including sex with gusto. “Why do people just not do this all the time?” she says to Wedderburn post coitus.
Her journey to self-discovery, free from the prejudices of polite society, sees her plot her own way to liberty by working as a Parisian prostitute, studying medicine, expanding her mind with the writings of Emerson and travelling the world. “I am finding being alive fascinating,” she says matter-of-factly.
An off-kilter “Frankenstein” story, “Poor Things” is the darkly funny tale of a human experiment who is not beholden to her creator. Unlike Frankenstein’s monster, she has a lust for life, an eagerness to drink from the chalice and savor every drop. From figuring out how to walk, spitting out food she doesn’t like—“Why keep it on my mouth if I find it revolting?”—to running off to an uncertain future, she finds freedom in the moment, and the zest with which Stone brings Bella to life is irresistible. “Ideas are banging in Bella’s head like lights in a storm!” she says.
It is a raw, strange performance, fearless in its execution. Rich in comedy—it takes a well-defined character to say, “I must go punch that baby,” and get away with it—and deep in pathos, Bella is the kind of character that we’re likely only to see in a film by Yorgos Lanthimos, director of oddball delights like “The Favourite,” “The Lobster,” “The Killing of a Sacred Deer” and “Dogtooth,” but it is Stone who makes the character simultaneously hilarious, sympathetic and disturbing.
Stone is supported by Dafoe as a mad scientist who wouldn’t be out of place working alongside James Whale or Tod Browning. It’s a bravura performance, under an inch of monstrous make-up scars, that reveals the human side of a man mostly interested in data, but who makes a space in his heart for Bella.
Ruffalo lets it rip, gleefully embodying the worst of humanity. The old money lawyer is braggadocious, uptight and a bit of a dim wit. The Avengers actor milks Wedderburn for all he’s worth, emphasizing his ridiculous suaveness to create a comedic character that is part Errol Flynn, part Derek Zoolander.
The success of “Poor Things” is due to that trio of performances laid against Lanthimos’s ornate set design and odd-ball sensibility. It is a coming-of-age, a long strange journey unlike any other, but one with a strong message of female agency. “A woman plotting her course to freedom,” says brothel owner Swiney (Kathryn Hunter). “How delightful.”
Ryan Reynolds has carved out a unique and profitable niche for himself on screen. The current king of the non-IP action comedy, he recently scored big hits with “Red Notice” and “Free Guy,” original movies not based on a comic book or existing videogame premise. This week, add to that list “The Adam Project,” a sci fi adventure flick now streaming on Netflix co-starring Mark Ruffalo and Jennifer Garner.
Adam Reed (Walker Scobell), a precocious thirteen-year-old living with his mother Ellie (Garner), is still stinging from the death of his father a year earlier. “Son, you need to think about your future,” Ellie says, “because it’s coming. Sooner than you think.”
In fact, it may have already arrived.
One day Adam finds a wounded fighter pilot hiding in his family’s garage. Turns out the stranger isn’t a stranger after all. He’s Adam (Reynolds) from the future; the grown-up version with a bullet hole in his side and a mission. “You’re me,” says the awestruck youngster. “That’s classified,” says older Adam, “but yes, I once was.”
The time traveller jumped back to 2022 to save the world, using information created by his late scientist father Louis (Ruffalo). To do complete the mission, he’ll need to jump back in time further, this time with young Adam at his side. First though, there is a time travelling villain (Catherine Keener) and the question of how to come to grips with the past while saving the future.
Time travel movies rarely ever make perfect sense, and “The Adam Project” is no different. Time may be a flat circle, and destined to repeat itself, but the cinematic machinations of jumping from year to year, of changing the past from the future, often make my head hurt and take me out of the story.
“The Adam Project” sneaks by, not because of its grasp of the paradox of theoretical physics, but because if the chemistry between Reynolds and his young co-star Scobell.
Reynolds, reunites with his “Free Guy” director Shawn Levy, brings his trademarked charisma and way with a joke, while Scobell, making his acting debut, is a natural foil. He is funny, charming and holds his own against Reynolds, arguably one of the best scene stealers in movies today.
They click and because they do, the movie works. The sci fi aspects of the story, the Stormtrooper-looking soldiers from the future or the noisy CGI climax, don’t make as much of an impression as the film’s heart and soul, the relations ship between the Adams and their father as they heal the wounds caused by their dad’s death.
“The Adam Project” threatens to allow the special effect fireworks to overshadow its story, but contains just enough heartwarming material to earn comparisons to the 1980s Amblin movies that were clearly an inspiration.
“Chicago 10,” a documentary that echoes the events detailed in the recent Netflix drama “The Trial of the Chicago 7,” brings a sense of immediacy and even anarchy to an often-told story.
Director Brett Morgen uses mixed media, a amalgamate of archival footage and animation set to a soundtrack of edgy protest music, to tell the tale of one of the defining events of 1968. In an unsettled and unsettling year, a trial saw 60s counterculture icons Abbie Hoffman and Jerry Rubin of the Youth International Party, and assorted radicals David Dellinger, Tom Hayden, Rennie Davis, John Froines, and Lee Weiner charged with conspiracy and inciting to riot stemming from their actions at the anti-Vietnam War protests in Chicago, Illinois, during the 1968 Democratic National Convention. Black Panther Bobby Seale had his case severed from the others but earns considerable coverage here.
The story, based on transcripts and rediscovered audio recordings, is familiar but Morgen’s film is as much an experience as it is a straightforward documentary. His mix and match of styles brings with it an energy that captures the wild ‘n woolly climate of the times, from the hippies and the Yippies to the general atmosphere in Chicago. It’s trippy with a vibrant social awareness that side steps many of the cliches used in portraying the times.
“Chicago 10” is a digital release as part of the Impact Series.
The only thing big and green in Mark Ruffalo’s new film “Dark Waters are the hulking wads of cash a major corporation is willing to pay to cover up an ecological disaster.
Based on true events, Ruffalo plays corporate defense lawyer Robert Bilott, a native West Virginian now working for an upscale Cincinnati firm. He makes a living defending big companies but when Wilbur Tennant (Bill Camp), a friend of his grandmother shows up complaining that chemical giant Dupont is poisoning his livestock, Bilott is at a loss for words. “I defend chemical companies,” he stuitters. “Well, now you can defend me,” replies the plainspoken Wilbur.
Bilott knows the farm. As a kid he rode horses and milked his first cow there and even though the he doesn’t think he can help, he agrees to have a look. On the land he finds horrifying things. 190 cows dead, many born with birth defects and tumors. Wilbur is convinced that runoff from a nearby landfill is responsible. What was once a pastoral paradise is now a poisoned plot of land.
To paraphrase the famous John Denver song, country roads lead Bilott back home to place he belongs, defending a farmer done wrong by a conglomerate more concerned with profit than people.
“Dark Waters” is about accountability. Bilott spends more than a decade of his life, putting his health and family life at risk to take a corporate Goliath to task for their irresponsible behavior. Ruffalo does a good job at portraying the Bilott’s decline as he is worn down by the tactics of his foe, the impatience of the people he is trying to help and his inability to force the power brokers to play fair. It humanizes a story that otherwise would be a high level legal procedural.
Director Todd Haynes shoots the story in drab tones that echo much of the colorless work—i.e. cataloguing the mountain of paper sent over by Dupont in the form of discovery. It doesn’t make for a compelling looking film but it helps set the scene and tone. Fighting back isn’t glamourous work. It’s about late nights, crappy food and a constant feeling of exhaustion.
“Dark Waters” isn’t a thriller. From the first frame there is no question about who is guilty. The question here is how guilty and will they ever pay for what they have done? It is geared to outage and infuriate, to underscore that the big guys don’t always win. It is marred by a leisurely approach and some paper-thin characterizations, but the David and Goliath story is compelling.
The words “most-anticipated movie of the year” get tossed around a few times every season, usually describing a beloved fan sequel or an Oscar hopeful riding a wave of good press.
After “Avengers: Endgame” we can retire those words until January 2020. Before it played on one public screen the follow-up to 2018’s “Avengers: Endgame” smashed records. Demand for tickets crashed AMC Theatres’ website and app, it became Fandango’s top-selling pre-sale title and in China, advance sales topped a record one million tickets in a matter of hours. Someone in the United States paid a staggering $15,000 on-line for a pair of tickets (I hope that includes popcorn) and box office prognosticators predict forecast a domestic debut in the $260 million range.
Most-anticipated indeed but the question remains, Does “Avengers: Endgame” deserve all the hype?
In the spirit of #DontSpoilTheEndgame I’m cribbing the synopsis of the movie from IMBD.com: “After the devastating events of Avengers: Infinity War (2018), the universe is in ruins. With the help of remaining allies, the Avengers assemble once more in order to undo Thanos’ actions and restore order to the universe.”
“Endgame” is, first and foremost, a fan service movie. From the sheer number of returning Marvel faves—characters number in the dozens, if not the low hundreds—too deep character backstory—superheroes have mommy and daddy issues too!—to the crew’s biggest world-saving mission to date, it indulges every aficionado’s story hopes and desires. It may leave the casual superhero fans feeling overwhelmed by the sheer weight of the film but people willing to line up for hours to see the movie on opening weekend will be rewarded for their patience.
It is epic in the terms of length—it’s three hours so get a snack—location—infinity and beyond!—but it feels like “a lot“ rather than epic.
The story begins on a minor chord, spending much time with the characters grappling with the loss of friends and family before finding a way to right the world-destroying wrongs of Thanos. There is humor, some action but mostly character work. Hulk is in a form we haven’t seen before, Rudd and Downey still have a way with the line and it’s a whole new Thor than any other movie. As the story hopscotches through time and space directors Anthony and Joe Russo keep the focus on the characters fans have come to love.
It’s in the third hour the movie loses its human touch, becoming a noisy CGI orgy that must’ve required the power of 1 million networked computers working overtime to render the frenetic images we see on screen.
As for who lives and who dies? (SPOILER ALERT WITH ABSOLUTELY NO REVEAL) You’ll get no hint here. Suffice to say one of the characters says, “part of the journey is the end,” and I can tell you there will be unsigned contracts and actors suddenly free to do other movies that do not require the wearing of spandex.
“Endgame” feels like the end of the old cycle, the beginning of a reset. Old favourites gone, passing the mantle to others before they go. We even see a poster that reads, “Where do we go, now that they’re all gone?” I’m sure the next several Avengers movies will point the way but it is worth noting there are no hints in the post-credit scene because there is no post-credit scene (at least at the screening I saw).
The film has a sense of self-importance that fans will love, giving the characters the respect that franchises owe characters who have made them billions of dollars.
Over the course of six movies, Thor has been portrayed as a muscle-bound sex symbol; a larger-than-life hero with Shakespearean tendencies, but New Zealander Taika Waititi thinks he has fully realized the character’s potential.
“How do you get the audience to relate to superheroes?” asks Waititi, director of Thor: Ragnarok. “If you take all of them individually from these Marvel or DC movies, they’re very hard to relate to. I can’t relate to the Incredible Hulk other than I get angry sometimes. Thor is essentially a rich kid from outer space. I can’t relate to that so how do you bring them down to our level and give them our kind of problems? That was something we focused on quite heavily in this film even to the point where we have Hulk and Thor sitting on a bed after an argument talking about feelings. We humanized them a bit more and put them in situations we’ve all been in.
“We also took away his hammer and banished him across the universe. He’s really just trying to get home. We’ve all tried to get home at four in the morning, lost, wandering the streets. That’s what this is. We’ve basically made After Hours in space.”
Thor: Ragnarok’s plot sounds like it could be from any generic Avengers film — a world is at stake — but there is no other superhero movie that would see their champions escape through an interdimensional portal named The Devil’s Anus. Yes, there is serious subtext about genocide and displaced persons but thanks to Waititi this is the first Marvel movie to really value comedy over spectacle.
“I had to be respectful of the source material and where the film fit in with all the other things they are doing,” Waititi said. “My whole thing was to give my take on this film and try and make the best film I could whilst letting Marvel keep me in my lane, making sure I didn’t veer off too far to the left or right with their precious character.”
Waititi has remained true to the core of what fans will expect from the crown prince of Asgard as played by Chris Hemsworth, but this time around the Norse God is not exactly your father’s Thor.
“This is a way more colourful and vibrant take on the character and the kind of adventures he has,” the director says. “We borrowed a lot of that design from the great artist Jack Kirby. So right from the start we pulled away from that desaturated, dark style from a lot of other superhero movies. We’re being unapologetic about wanting for this to be a fun adventure through the cosmos and filling it with incredible characters and monsters. It feels like this film was made by six-year-olds. I don’t know if there is any colour left that we haven’t either put into the poster or into the movie.”
Thor: Ragnarok is the Oscar-nominated filmmaker’s first Hollywood movie. He’s best known for oddball work like Boy, Hunt for the Wilderpeople and the horror comedy What We Do in the Shadows, but says his Marvel film shares the same DNA as his smaller movies.
“I definitely feel like this is a Taika Waititi film,” he says. “It could live comfortably in the box set.”
Depending on which side of the interdimensional divide you sit on, superhero movies are either the best thing to happen to Hollywood since the invention of buttered popcorn or the worst thing to happen to film since Steven Seagal.
Before we decide if The Hulk et al are ruining Hollywood, let’s define what a superhero movie is.
This weekend’s Thor: Ragnarok is most definitely a superhero film. It features characters with godlike abilities dedicated to protecting the public from archenemies.
Most superhero flicks — a genre David Fincher refers to as “spandex, blockbuster tentpoles” — whether they are comedic outer-space operas like Guardians Of The Galaxy or heist flicks like Ant-Man, are bound by straightforward morality and the idea that good always prevails over evil.
“It’s a very delicate time right now on Earth,” said Man Of Steel’s Michael Shannon, “and there’s a lot going on that is pretty frightening. It would be nice to believe or think that there was somebody that could protect us from that.”
Director James Wan adds, “All the good superheroes have some kind of social commentary about why they are who they are. It teaches values and so it’s a very important thing.”
The studios — with Marvel leading the charge — have raked in billions of dollars peddling bigger-than-life movies to fan boys and girls but are they self-defeating? Are Batman and Wolverine really ruining the movie business?
Oscar winner William Friedkin thinks so. “Films used to be rooted in gravity. They were about real people doing real things. Today cinema in America is all about Batman, Superman, Iron Man, Avengers, Hunger Games: all kinds of stuff that I have no interest in seeing at all.”
Marvel Cinematic Universe architect Kevin Feige, the man largely responsible for the influx of cinematic superheroes, disagrees. “If you look through the decades of people who’ve been accused of that — Star Wars ruined Hollywood, Steven Spielberg ruined Hollywood —I’ll be in that company any day of the week.”
That’s a flippant answer to a hotly debated and complicated question. At the heart of the discussion is the notion that bigger is always better. Does Hollywood’s love of bombast come at the expense of new ideas? Has the sheer scale of Avengers and Company movies made studios greedy, interested only in brands that will gross hundreds of millions. Why spend $5 million to gross $25 million, the theory goes, when you can spend $180 million on an established brand and make $1 billion?
Others worry that the episodic, homogenous nature of continuing superhero storylines aren’t challenging.
The truth is Wonder Woman and Friends haven’t sucked all the oxygen out of the room. The superhero bubble exists but the commercial and artistic success of movies like Get Out and Colossal balances out the equation. Superheroes may provide bang for the buck but smaller, original films are coming back into vogue.
The world of cinema is a big place. There’s room for both Thor: Ragnarok and The Florida Project. The fact we’re seeing a renaissance of small films playing alongside their risky bigger budget cousins like Dunkirk, signals studios walking back on their commitment to only making astronomically priced superhero movies.
So superheroes haven’t ruined Hollywood. They may be popular now but as Feige says, “As soon as there are a bunch of them that are terrible, that’s when it will end.”
“Darling, you have no idea what is possible.” So says Hela (Cate Blanchett), Thor’s Goddess of Death sister.
She’s a piece of work who thinks nothing of drowning a whole race of people in their own blood to get what she wants, but she has a point. Up until this point no one really knew what was possible with the Thor (Chris Hemsworth) character. Over the course of six movies we’ve seen the crown prince of Asgard as a larger-than-life hero with Shakespearean tendencies and a muscle-bound sex symbol but it took director New Zealand director Taika Waititi to fully realize the character’s potential. Thor has always been quick with a line, but this time around Waititi puts the comedy upfront.
The plot of “Thor Ragnarok” is less interesting than its tone. In a nutshell Thor’s sister, the hella-deadly Hela is back from exile and with Odin (Anthony Hopkins) out of the way, is first in line for the throne of Asgard. She, equipped with an impressive set of black antlers and ruthless nature, plans to go Ragnarok on the citizens of Asgard to fulfill her appetite for destruction.
After some tomfoolery with giant demon Surtur (Clancy Brown)—“Oh, that’s your crown,” Thor purrs. “I thought it was a big eyebrow.”—Thor returns to Asgard, reunites with mischievous brother Loki (Tom Hiddleston) before literally locking horns with Hela and hurled through space and into the hands of the quirky Grandmaster (Jeff Goldblum), a colourfully dressed ruler who offs people with his dreaded Melt Stick and pits the Norse god against his old friend Hulk (Mark Ruffalo) in a gladiatorial match. With Asgard at stake Thor recruits the giant green world breaker and a warrior Valkyrie (Tessa Thompson) to save his planet.
That sounds like it could be the plot from any generic Avengers film—a world is at stake—but there is no other superhero movie that would see their champions escape through an interdimensional portal named The Devil’s Anus. Yes, there is serious subtext about genocide and displaced persons—we hear Led Zep’s “Immigrant Song” twice—but this is the first Marvel movie to value comedy over spectacle. The trademarked Marvel blockbuster action is still there but the gags carry the show.
Certainly “Thor: Ragnarok” is the polar opposite of rival DC’s dark universe but even in its own house, the Marvel Cinematic Universe, it’s a breath of fresh air. Seventeen movies in Marvel has taken a chance, handing the reins over to an idiosyncratic helmer. Waititi’s (who also plays a talkative Groot-like gladiator named Korg) first big studio movie after whimsical indies the adventure comedy “Hunt for the Wilderpeople” feels as close to an auteur film as we’re likely to see in this genre. He brings a zippy sense of fun that showcases Hemsworth’s comedy chops.
Like the rest of the Avengers movies “Thor: Ragnarok” is a tad long and, near the end is overrun by creatures and CGI. Some will complain that the glib tone completely overrides the film’s serious side but the gags and the home-is-where-the-heart-is message make this one of the most human and humane MCU movies yet.
SYNOPSIS: In “Mickey 17,” a new sci fi black comedy from Oscar winning director Bong Joon-ho, and now playing in theatres, Robert Pattinson plays an “expendable worker” who takes on dangerous jobs on the outer space colony Nilfheim. “You’re an Expendable,” he’s told. “You’re here to be expended!” If he dies—which is likely—he is regenerated and sent back to work. When one of his clones, Mickey 17, is replaced before death and makes his way back to the colony, the two Mickeys must fight back or be destroyed.
