LOGLINE: Detectives Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) become fugitives from the law when they are forced to bend the rules in their investigation into corruption in the Miami PD and their former captain’s (Joe Pantoliano) alleged involvement with the Romanian Mafia. “You’re my bad boys,” says Capt. Conrad Howard on a video. “Now clear my name.”
CAST: Will Smith, Martin Lawrence, Vanessa Hudgens, Alexander Ludwig, Paola Núñez, Eric Dane, Ioan Gruffudd, Rhea Seehorn, Jacob Scipio, Melanie Liburd, Tasha Smith, Tiffany Haddish, Joe Pantoliano. Directed by Adil & Bilall
REVIEW: A classic odd couple, Will Smith and Martin Lawrence, maintain the chemistry that has fueled this franchise for almost three decades, and “Bad Boys: Ride or Die” is all the better for it. They’ve slowed somewhat, but their breathless back-and-forth, usually while they’re under fire from all directions, is as sharp, and funny as ever.
That’s the good news.
The bad news is that much of the movie feels like an exercise in nostalgia. The directorial style, courtesy of Adil El Arbi and Bilall Fallah, pays homage to the frenetic style of original director Michael Bay. To reinforce their debt to the franchise’s former director, they even give Bay a quick cameo.
There’s nothing much fresh about “Bad Boys: Ride or Die.” Old characters are brought back (sometimes from the dead), the only thing more generic than the villain feels is the dialogue (eg: “You’re playing a game and don’t know the rules.”) and with the exception of a hungry, giant alligator, the peril is same old.
Cudos, however, to whoever came up with the idea of Smith taking a (Oscar) slap (or three) to the face in a scene that suggests he’s open to atonement for his mistreatment of Chris Rock.
“Bad Boys: Ride or Die” delivers what you expect from the franchise, which is a crowd-pleasing mix of action and comedy. The story may be implausible but the chemistry that drives it is completely tangible.
The influence of one of the most infamous photos from the American Civil War is still felt today, 159 years later. The picture, taken by the Union Army, of Gordon, a formerly enslaved man known as “Whipped Peter,” display his scourged bare back, the result of brutal whippings.
The indelible image, commonly called The Scourged Back, provided incontrovertible proof of the cruelty of American slavery and helped fuel the abolitionist movement. Now, courtesy of director Antoine Fuqua and his film “Emancipation,” now streaming on Apple TV+, the story behind the photograph is being told. “We are going to make sure that every person in the world truly knows what slavery looks like,” said the photographer who took the picture.
Will Smith, in his first role since the slap heard ‘round the world, is Peter, a deeply religious Haitian slave torn from his wife Dodienne (Charmaine Bingwa) and children to be sold to a Confederate labor camp. Unable to remain silent when the camp’s overseers, like the sadistic Fassel (Ben Foster), abuse the enslaved men working to his left and right, he is labelled defiant and regularly beaten or threatened with a loaded gun to his head.
“They break the bones in my body more times than I can count,” he says later, “but they never break me.”
When Peter learns of the Emancipation Proclamation, signaling that President Lincoln has freed the slaves, he plans an escape, fleeing with a group of men through some of Louisiana’s most treacherous swamps. Driven toward freedom, and the possibility of being reunited with his family, Peter battles nature, and beasts, both the four-legged and two-legged kind, to survive.
Shot in daguerreotype black and white, resembling a high contrast tin type photograph, “Emancipation” looks like a historical document of a sort, but comes with a modern storytelling sensibility. It is both a brutal representation of the evils of slavery and a Will Smith action movie.
As Peter makes his way through the bayou, rubbing onion on his clothes to put the bloodhounds off his scent, battling an alligator or defending himself with a cross-shaped necklace, his journey is rife with danger. The tense action scenes, which make up the bulk of the movie, are well realized by director Fuqua, but they come at the expense of the character.
We come to understand that Peter is a smart, courageous and resourceful man whose deeply held religious beliefs have given him a roadmap for life, but the film appears more interested in the way he sidesteps danger rather than creating a fully-formed portrait of the man himself.
Smith is raw in his performance and Peter’s inspirational journey to family and freedom is a visceral one, but, as presented, not a deep one.
For better and for worse we know what to expect from a Will Smith hero’s journey film and “Emancipation,” for better and for worse, is just that. It folds a death-defying action movie around a vivid portrait of the scourge of slavery and it’s an uneasy balance. On one side, the film is propped up by Fuqua’s deft, propulsive handling of the action. On the other, it feels like a missed opportunity to dig deep into what made Peter tick.
Richard joins CTV NewsChannel and anchor Lois Lee to have a look at new movies coming to VOD, streaming services and theatres including the rebooted “Ghostbusters: Afterlife,” the fourth film in “Ghostbusters” franchise, the inspirational new Will Smith movie “King Richard” and Benedict Cumberbatch in “The Power of the Dog.”
Like all good sports films “King Richard,” the crowd-pleasing look at the early life of tennis superstars Venus (Saniyya Sidney) and Serena Williams (Demi Singleton), isn’t really about the sport. Sure, the action builds toward the climatic 1994 tennis match that made Venus a household name, but it is more about the back-and-forth between the family members than it is about batting a ball back-and-forth.
Exec-produced by Venus and Serena, “King Richard” begins with a plan and determination.
Compton, California parents Richard Williams (Will Smith) and Oracene “Brandy” Price (Aunjanue Ellis) are raising their five daughters with love, discipline and a plan. Tunde (Mikayla LaShae Bartholomew), Isha (Danielle Lawson) and Lyndrea (Layla Crawford) are all successful students in school, top of their class, but the film focusses on Venus and Serena, the tennis prodigies and subjects of Richard’s 78-page plan. It’s a bulky document written before their births, that lays out the steps to personal and professional success on the tennis court.
Richard’s mantra is, “If you fail to plan, you are planning to fail.”
He is tireless in his devotion to Venus and Serena, training the pre-teens on a neighborhood court as if they were already playing at a professional level. The odds are stacked against them—the chances of one family producing this kind of genius, Richard is told, is like one family producing two Mozarts—but their talent, nurtured by both Richard and Oracene, and an unwavering allegiance to the plan, point them in the direction of Wimbledon and beyond.
“I think you might have the next Michael Jordan on your hands,” says tennis coach Rick Macci.
“No,” Richard replies, “I got two.”
“King Richard” may be the most inspiration movie of the year. Maybe ever. There is uplift in almost every frame. From Richard’s unswerving support for all his children and Oracene’s ability to always know the right thing to say, to Venus and Serena’s journey to the top in a sport typically dominated by white people, the movie exists in a tidal wave of heart-warming emotion.
It is occasionally cloying but Smith, in a career best performance, finds the complexities in Richard’s character. To call him single-minded is an understatement. “You are the most stubborn man I ever met,” says Paul Cohen (Tony Goldwyn), “and I coach John McEnroe.”
In real life the press asked aloud if Richard was a dreamer or a huckster, but the film digs deeper to reveal a man whose worldview was formed by childhood trauma. He wants his kids to have the childhood he never did, one filled with love, achievement and safety. Some of his most baffling decisions, in terms of the advancement of their careers, are rooted in his desire to protect his daughters, not exploit them.
When Venus wants to go pro at age 14, he tells her that decision is about more than the game. She will be representing “every little Black girl on earth,” he says, and he wants to protect her from that burden for as long as he can.
Smith is both cocky and vulnerable in the role, using his trademarked charisma in a different way. His usual swager is gone, replaced by determination and obstinance, and it’s a fascinating character study.
Smith is surrounded by a terrific cast whose naturalistic performances set the tone for this family drama.
“King Richard” doesn’t reinvent the film biopic wheel. Characters still make big pronouncements like, “Forget Ali and Frazier. If she wins this will be the biggest upset in the history of sports,” and it follows a linear path, but the indelible message of the power of family resonates.
Almost seventeen years after “Bad Boys II” Marcus Burnett (Martin Lawrence) and Mike Lowrey (Will Smith), are longer in the tooth but still ready for some over-the-top action in a one-last-job movie. “I’ve never trusted anybody but you,” says Lowery says to Burnett in “Bad Boys for Life.” “I’m asking you, man. Bad Boys, one last time?”
Once “bad boys for life,” the team of Burnett and Lowrey is coming apart at the seams. Middle age and career aspirations have sent the once inseparable team in opposite directions. Burnett, now a grandfather, is one the edge of retirement—”Mike, we got more time behind us than in front,” he says.—while Lowery is still hungry for the adrenaline rush that comes with police work. “I’m going to be running down criminals till I’m a hundred,” he says.
Their lives have led them in different directions but when Armando Armas Tapia (Jacob Scipio), a drug kingpin and son of a man Burnett and Lowery took down years ago, resurfaces looking for vengeance, the two cops put the band back together. “Family is the only thing that matters,” Burnett says to Lowery. “I’m not letting you go on this suicide mission alone.”
“Bad Boys for Life” doesn’t feel so much like a sequel or a reboot as it does a tribute to the Michael Bay films of the o-so-many-years-ago. The patented “Bad Boys” high style feels like nostalgia for the 1990s when movie violence came with dark humor and buddy cop charisma. The story of a vengeful drug dealer is about as deep as a lunch try but directors Adil El Arbi and Bilall Fallah, who have clearly worshiped at the altar of Bay, understand that the success or failure of a “Bad Boys” movie isn’t about the story but the sparks generated by Smith and Lawrence. The pair, now aged 51 and 54 respectively, fall back into their roles effortlessly, having some fun with their middle-aged selves. “Bad boys ain’t really boys anymore.”
One effectively staged scene compares and contrasts the partners and their stages of life. It’s a funny sequence that intercuts Lowery putting on his Ray Bans with a flourish while Burnett struggles to get his reading glasses on his face, etc. It’s a nice light show-me-don’t-tell-me scene that sets up the dynamic between the two.
The wild action scenes that follow tend toward orgiastic videogame style shootouts, particularly the climatic battle, but succeed because the CGI is kept to a minimum and the gunshots are punctuated by Lawrence’s quips.
“Bad Boys for Life” keeps the camera in constant motion, filling the screen with equal parts over-the-top violence and humour, breathing new life into a franchise that was declared dead when George W. Bush was still president.
The animated “Spies in Disguise” features the voice of one of the biggest movie stars in the world and one of the strangest premises we’ve seen all year.
Will Smith voices Lance Sterling, the world’s greatest spy. “I’m out here saving the world,” he says. “That’s what I do.”
Back at HQ after a daring mission, he’s drinking from his #1 Spy mug when he’s taken into custody for stealing a secret weapon called the M9 Assassin. He claims he’s innocent, that a villain named Robot Hand (Ben Mendelsohn) stole his identity and made off the weapon. One daring escape later Sterling sets off to prove his innocence.
Trouble is, he’s easy to find so he tracks down the one person who can help him, MIT grad Walter (Tom Holland), a junior inventor in the agency’s Gadget Lab. “I need to disappear,” he tells the youngster.
Walter obliges, sharing his biodynamic concealment potion with Sterling. The spy disappears but not in the way he hoped. Instead of becoming invisible the next best (or worst, depending on how you look at it) thing happens. He turns into a pigeon. “There are pigeons in every major city,” Walter says. “It’s the perfect disguise.”
It’s a good way of going incognito perhaps but not practical in the hunt of Robot Hand. “I’ll come with you,” Walter says, “and show you all the advantages of being a pigeon. It might even make you a better spy.” Together they set off to find Robot Hand as Marcy (Rashida Jones), the agency’s head of security, tries to find and arrest them.
Featuring Pierce-Brosnan-era-007-style action and gadgets “Spies in Disguise” is frenetic, family friendly James Bond Lite. Directors Nick Bruno and Troy Quane keep the pace brisk, pausing only to emphasize a gag but the movie works best not when it’s in action but when Sterling is adjusting to life as a pigeon. As his latent avian instincts come on strong, for instance, he finds he can’t resist eating garbage on the road. It’s goofy good fun that is more interesting than Sterling’s human form, which is all swagger.
The script, by Brad Copeland and Lloyd Taylor, also mines a considerable amount of humor from the odd couple pairing of Sterling and Walter. Sterling is a shoot first and ask questions later kind of spy while Walter favors unusual methods, like disarming the baddies with wild, glittery cat videos because, well, everyone loves a cat video. “You can do more by bringing people together than blowing them up,” he says.
“Spies in Disguise” is buoyant enough to entertain the eye but the messages for kids about the benefits of being part of a flock and celebrating our differences are expertly woven throughout.
Richard sat down with “Gemini Man” director Ang Lee for CTV NewsChannel. The pair discuss the technological challenges in making the film, including creating a “clone” of Will Smith.
RC: What you have here in this film, and this doesn’t give anything awa,y but there is Will Smith at his current age, 50, or 51, that’s the joke in the film, fighting against his 23 year old self. You’ve created a computer generated image. So that means I guess you had to shoot everything twice,
Ang Lee: There were endless measurements to put everything together and a lot of efforts in the post. 500 artists, working for a year.
RC: There are technical challenges in this film that, it occurs to me, just made it a harder film to make. Let’s talk about the frame rate, a little bit, this sounds kind of technical but really what it is, instead of shooting at 24 frames a second, you’re shooting 60 which makes everything look really realistic. But there’s no place to hide. Right. Is it a more complicated process for you as a director?
AL: Of course, because that’s something new to us. The equipment is doesn’t quite accommodate it. It’s not as not handy. It is very clumsy in operation. To raise the frame raise is just raise it to normal for 3D. I think 3d, because your perceptions is sharper, it is more like real life. It’s less tolerable to the strobe, which we actually learn to like in the past. So this is something else is uncomfortable zone but but it is exciting because it’s a new experience.
RC: There’s not so much CG in Brokeback Mountain, but you do use CGI in your other films. Do you just see it as another tool in your toolbox as a filmmaker?
AL: Yeah, ironically, I’m a really low tech I am like really down when it comes to that. Ask the experts. I ask the smart guys to figure out for me how I can see certain things and pursue images that do things to you.
RC: I would think at some point it becomes less about the storytelling. At a certain point and then more about what we have to make sure that the eyeline is right and we have to make sure that when you’re dealing with such technology, how do you as a director as a storyteller as someone who says you’re, you’re not so technologically minded. Keep your enthusiasm up for a project like that,
AL: If it doesn’t look right get scared. You’re making a mess and people are spending a lot of money on it. Also you just want to see that image, how it plays. So naturally, is painstaking, and hopefully we’ll go through there so the audience don’t go through the same thing. They’re just enjoy the picture, and don’t think about that. The visual effects people will tell you that. Ironically, it’s the best compliment they can get is that people don’t know is they had a hard time.
“Gemini Man,” a glossy new action-thriller starring Will Smith, feels like a cinematic stew of ideas lifted from other movies. Mix and match “Looper” and “Replicant” with a dash of “Deadpool” and “Unforgiven” and you have a film with that feels like a mild case of déjà vu.
Smith plays highly trained government sniper Henry Brogan. When we first meet him he’s on mission to assassinate a bio-terrorist from a perch two kilometers away. He aims, blasts his target, who happens to be travelling on a train at over 200 KPH, through the neck, completing the job as assigned. It’s a spectacular shot but Brogan doesn’t feel great about it. “There was a girl,” he says, “a beautiful little girl next to him. If I was six inches off…” After 72 confirmed kills he feels it’s time to hang up his guns. “Deep down my soul is hurt,” he says. “I need peace.”
Trouble is, he knows too much. Retiring means he is a loose end and his Defense Intelligence Agency bosses, Clay Verris (Clive Owen) and Janet Lassiter (Linda Emond), don’t like loose ends. He must be controlled or killed. “Mutts like Henry were born to be collateral damage,” Verris sneers. First they send newbie Agent Zakarweski (Mary Elizabeth Winstead) to keep an eye on him. When that doesn’t work a hit-squad is dispatched. When Brogan dispatches the squad the international adventure begins.
With Zakarweski and ace pilot Baron (Benedict Wong) in tow, Brogan blows through his air mile points, travelling to Cartagena, Colombia, Budapest, Hungary and Savannah, Georgia. They’re on the run from a new breed of soldier sent by Verris, a weaponized human who makes the mission personal for Brogan.
(ABANDON HOPE ALL YE WHO ENTER HERE, THERE BE UNAVOIDBALE SPOILERS AHEAD) There is no way to discuss the plot of “Gemini Man” without giving away a major plotline. It’s a not a secret but let’s just pretend you didn’t hear it from me: the weaponized human is Brogan’s clone, complete with the skill set but without most of the annoying human traits like fear and pain. Playing the clone is a de-aged Smith and while it is fun to see a cocky, spry version of him on the big screen, the young Smith often looks like a digital echo of the real thing. It’s all fun and games when the two are doing battle in any number of director Ang Lee’s frenetically staged action scenes but when their relationship becomes an emotional mano a mano the limitations of the digital imitation become obvious and distracting.
Shooting in 60 frames per second and in 3D, Lee fills the screen with hyper-realistic images that seem to pop off the screen. Shrapnel cascades into the audience and a gravity defying ninja hop scotches across the screen to great effect but, for my money, the digital imagery treatment doesn’t have the warmth of film. It feels hard-edged and stark, like old-school video tape, which works well in the action scenes—e motorcycle chase in Columbia is breathtaking—but less so in the more intimate moments.
“Gemini Man” will likely garner more attention for its startling look than for its content. An olio of clone and one-last-job movies it feels out of date, like a slick looking relic from the age of direct to DVD action movies.
