‘Blu-ray or Bust’ - JUSTICE LEAGUE

‘Blu-ray or Bust’

JUSTICE LEAGUE (2017, PG-13, 120 minutes, WARNER BROS./DC ENTERTAINMENT)

My Evil Editor is under the impression that I have it out for DC films, so I’d like to do things a wee bit differently this week.

To start, a quick synopsis of the film: Batman/Bruce Wayne (Ben Affleck) recruits Wonder Woman (Gal Gadot), Aquaman (Jason Momoa), the Flash (Ezra Miller), and Cyborg (Ray Fisher) to help him stop Steppenwolf (Ciarán Hinds’s voice) from destroying the earth.

Now, the facts: I enjoyed the film more than the final grade shows.  However, there was way too much for me to overlook.  I would like to point out that I have a soft-spot in my heart for Zack Snyder.  The man brilliantly brought THE BEST comic book interpretation to the screen with 2009’s WATCHMEN; the director’s cut was a gloriously rendered and beautiful tragedy of a story, one that reflected not only the comic’s message of hope, fear, love, and rebirth, but it’s legendary visual components as well. Snyder has a style of storytelling which is characteristically grim, dark, and darkly humorous.  He is also a rather intelligent filmmaker. 

His other greatest story was the director’s cut of BATMAN V SUPERMAN: DAWN OF JUSTICE.  This final edit made much more sense than the original theatrical release, with more fleshed out characters and subtle nuances that made the action more relatable, and the events more believable, even if I thought it was a bit early to be jumping into team-up mode.  The director’s cut worked quite nicely.

But I had issues with its predecessor, MAN OF STEEL.  There was no director’s cut of that film, and the result was a story that felt rushed, especially when it came to Superman’s issues with killing.  Of course, the result of that death at the hands of the Man of Steel have reverberated in the subsequent storylines—not that it has appeared to affect the hero all that much, but I’m willing to forgive any needless existential character building where Superman is concerned.

My biggest problem with the DC universe lies with JUSTICE LEAGUE, however.  With the rousing success of last year’s brilliant WONDER WOMAN, Warner Bros. must have thought this film would automatically be good.  That the special effects would work with no tinkering, that the villain would be evil enough just because of the idea of him, that the strengths of its characters would carry the film and none would be the wiser.  In other words, they threw a bunch of crap at some good actors and figured everyone would buy it as awesome.  It probably didn’t help that Snyder had to bow out of directorial duties due to a family tragedy, and that Joss Whedon stepped in to finish the film.  Snyder is still credited with the duty, but there is Joss all over this movie.

And kids, you can’t switch directorial styles halfway through filming.  You can switch storytelling styles as a means to tell different points of view, but when you bring in another director to finish something already begun, the styles are obviously going to clash.  Whedon, as you’ll recall, is the man behind THE AVENGERS films—superhero ensemble films that worked because everything else worked.  And because Marvel Studios took the time to give you back story on several characters first.  With LEAGUE, you get three new heroes you didn’t have before.  Don’t get me wrong, each of those characters deserve their own films—all three actors do great with their roles, bringing distinctive voices to each one—but those films should have been approached prior to mushing them all together here.

And the effects…  Sweet Baby Hey-Zeus, the effects.  The film starts with one of the worst effect shots in the movie: the CGI removal of Henry Cavill’s beard.  It gives him swollen cheeks.  Seriously, like he has cotton stuffed in his face.  And Steppenwolf… honestly, I’d like to know which part of the film used up all of the funds set aside for the effects shots, because it wasn’t when it came to animating the villain.  And the other shot that well and truly pissed me off was of Alfred (Jeremy Irons) watching the Justice League depart; he is a tiny figure on the screen, but if you are looking at him and not the jet as it departs, the rendition is truly terrible.  Right down to the whites of HIS GLASSES.

I truly do not want to spoil this film for anyone, but I’m not even listing half of the issues I have with the film.  I do not hate DC films—but fans deserve better than this.  If anything, the studio should have given Snyder time to deal with his family issues before hiring another director to take over.  I love Joss Whedon to the moon and back, but his voice, after listening to Snyder’s thus far, was not the right one for the DC universe.

It is possible that purchasing this on regular DVD and not Blu-ray will make it a better viewing experience, as the flawed effects may not stand out as much.  But guys, Snyder and his team worked wonders with the effects of WATCHMEN—how was it so difficult to pull off here?  

Grade: C-     

Special Features: B

Blu-ray Necessary: No. No, no, NO.

-- T.S. Kummelman

The 'Not-So-Critical' Critic: DEATH WISH

The 'Not-So-Critical' Critic: 

on DEATH WISH (2018, 107 minutes, R)

The Quick of It -

When I walked into the theater, I thought it would be nearly empty.  When the lights dimmed and the screen lit up, I thought this action film would be centered on its violent moments (not that this is a bad thing).  I thought there would be little real substance to this film, a film I had a cursory interest in seeing. 

Goes to show…

After the mass influx of remakes, skepticism sets in quickly.  The original DEATH WISH (1974) with Charles Bronson is iconic to the ‘vengeance genre’.  Why take on such a prolific project that will be scrutinized by everyone?  You see, those old-fart critics will remember and idolize the past.  Also, the current social climate with the school shootings at the forefront of everyone’s mind does nothing to help sell tickets.  Now you understand why my thinking was so slanted at the time.

My first mistake was not accounting for the bold and driven director, Eli Roth.  His background is extensive in the film industry, mostly outside of directing.  You can see his love for filmmaking goes into creating a dynamic project rather than making a paycheck.  Yes, I found DEATH WISH to have a number of levels that could have been easily discounted being an action film at its core.  Also, cinematographer Rogier Stoffers and anyone behind the set locations crushed it.  The streets of Chicago could not look any more alive, adding to each set shot and transitional clip something tangible.  This is a full package visually. 

Then, the one thing I didn’t discount is my fanboy addiction to Bruce Willis.  He will always be one of my favorite actors, regardless the role.  Bruce made this his film.  He plays Paul Kersey, a doctor who must find some comfort after his wife was killed and daughter put into a coma from a forceful break-in.  The storyline starts with building that connection between the family, building towards that moment requiring empathy from the observers.  His wife played by Elizabeth Shue (from LEAVING LAS VEGAS, ADVENTURES IN BABYSITTING, and THE SAINT) and daughter played by up-and-coming Camila Morrone did not falter.  The result is a film that touches on more than the violent nerve.  You couldn’t help but follow the struggle of Dr. Kersey, finding his therapeutic devices liberating in the extremist of senses.

It’s unfortunate that this film is released at a poorly timed moment.  I do hope it gets some respect.  If nothing else, I also got to see Vincent D’Onofrio still finding work.  Yeah, another fanboy addiction.

Grade: B+

‘Bluray or Bust’ - THOR: RAGNAROK

‘Bluray or Bust’

THOR: RAGNAROK (2017, PG-13, 130 minutes, MARVEL STUDIOS/WALT DISNEY PICTURES)

I look forward to THOR films now, because I get to be more caustic, more insulting and sarcastic.  After THOR: THE DANK WORLD came out four years ago, I have made it a point to include a new insult of that particular installment in every Marvel review I do—partly because it’s fun, but mostly because I still want a direct apology from the studio for that garbage heap of a “film”.

Yet my fun is now being spoiled by director Taika Waititi (totally giggle every time I say his last name out loud) (and by the way, he is the dude that directed the masterfully hilarious WHAT WE DO IN THE SHADOWS) has crafted a hybrid of GUARDIANS OF THE GALAXY and IRON MAN that works… no, you did not read that wrong.

He pulls off a successful Thor movie by not focusing entirely on its titular (I’m so punny!) character.  You get a whole lotta Hulk, you get the scene chewing Cate Blanchett as Thor’s evil sister, you get Doctor Strange, and you get Jeff Freaking Goldblum.  It is with these characters that you get your biggest laughs (not so much with Cate, but she does garner a few chuckles), and the longer lasting impressions.  Now for the “hey, can I borrow some plot points?” part of the review: you also get a character made out of rocks—who also has a pint-sized sidekick, one with tattoos on her face who could be a future romantic interest for Thor, imprisonment… any of that reminding you of GUARDIANS yet?  And the Iron Man thing—I’m sorry, but Tony Stark (Robert Downey Jr) owns the market on snark when it comes to the Marvel Universe.  Most notably in his dealings with the boy in IRON MAN III; the quick and easy banter, the sarcasm—RAGNAROK is literally dripping with these elements.

For the most part, they work, but there are several instances in which the jokes fall a bit flat.  And relying on one Led Zeppelin song (twice, no less) to add buoyancy to the moment and not include any other relative music?  Seriously?  Instead, Wayboobie—sorry, Waititi, relies on a score that sounds ripped right out of a bad eighties film.  On second thought, thanks for playing “Immigrant Song” twice—it was a nice break from that terrible score.

As far as the plot of the film goes: Thor (Chris Hemsworth) finds out he has an evil sister, who kicks him and Loki (Tom Hiddleston, who also hijacks several scenes) out of Asgard so she can take over (see: kill everyone).  They both wind up on a planet ruled by The Grandmaster (Goldblum, playing the part with more snark and giddy self-awareness than anything else you’ve ever seen him do) whose main form of entertainment is fight-to-the-death gladiator-style matches.  As usual, no spoilers, but if you’ve seen the trailers, you know the plot already.  Also, if you’ve seen a Marvel film before, you know the main character’s spin, because you’ve seen it so many times before (hero is heroic, hero loses power, hero learns to believe in him or herself—why hello again, IRON MAN III…)

As with most Marvel releases, there are a ton of special features, including a horribly unentertaining gag reel.  There are not too many surprises in the docs, although I am the geek that enjoys the behind-the-scenes stuff; watching people be creative is always fun, but these special features seem to focus more on the lighter side of Thor this time around.  Which is fine, there is some funny stuff here.  But it all seems like the same vibe as the film, and I, for one, appreciate a closer look at the technical work done to complete a film, effects laden or otherwise.

Thor’s next go will be in the upcoming AVENGERS film, due out at the end of April.  While he always seems to do better in an ensemble piece (obviously, because I liked this one), it will be interesting to see if the studio opts for another stand-alone film for the character.  And after this two hour and twenty minute apology letter for THOR: THE CRAP WORLD, I’m game.

Grade: B

Special Features: B-

Blu-ray Necessary: Most definitely

-- T.S. Kummelman