(For Day 7 of NaPoWriMo, the prompt was for a short poem that might go on a postcard, so I thought the two protagonists of this ‘80s classic might send a pic of their dearly departed boss.)
As you can see in this picture, We’re all hanging out, having fun In the sun. We just took the ferry And shared a high-five, All happy and merry And very alive. I can’t understate how alive we all feel, Especially Bernie; it’s almost surreal. Wish you were here, but there’s really no need. P.S. Don’t mind Bernie; he had a nosebleed. ________________________
MPA rating: PG-13
The late ‘80s had its fair share of dumb little comedies that are hard to take seriously but also hard to hate, and I do have a soft spot for the likes of Mannequin and Weekend at Bernie’s, both of which starred Andrew McCarthy. For the latter, it’s a prime example of a one-joke film that somehow manages to keep that joke entertaining throughout, so well that the title is synonymous with a corpse or puppet being propped up by others.
McCarthy and Jonathan Silverman play Larry Wilson and Richard Parker, respectively, two insurance cogs who think they’ve found a financial discrepancy that will properly impress their boss Bernie Lomax (Terry Kiser), who is on the outs with the mob. When the two are invited out to Bernie’s beach house, they are shocked to find him assassinated in his home, and to keep from becoming suspects in his death, they proceed to put sunglasses on him and fool any visitors into thinking he’s still very much alive. (On a side note, I chuckle whenever I see a character named Richard Parker, thanks to Life of Pi.)
I’m not usually a fan of dark comedy, but Weekend at Bernie’s is an exception. While the lack of rigor mortis in Bernie’s corpse is inherently unrealistic, the way his limp body is utilized for slapstick never fails to coax a giggle from me, especially the speedboat scene. McCarthy and Silverman make for likable everymen, and Don Calfa is hilarious as the gaslit assassin who keeps thinking Bernie is dead only to see him “alive” again. Poorly received upon release, the film does have a slight premise but wrings out all the laughs it can, so it’s nice that its reputation seems to have grown over the years.
Best line: (Larry) “What kind of a host invites you to his house for the weekend and dies on you?”
Are you new in Oz? I bet so because You’ve the look of someone lost, Exhausted, star-crossed, Like you’ve never seen a witch Or a road of yellow brick Or a beast with perfect pitch. Plus, you strike me as homesick.
But that’s no big deal; I know how you feel, Like a friend I miss a lot, Distraught, but fear not. See, we’ve done this all before, She got home still safe and sound. If what’s past is what’s in store, I’ve no doubt you’re homeward bound. _________________________
MPA rating: G (though PG fits better with some of the imagery and costumes)
Since 2024 marks the 85th anniversary of The Wizard of Oz and the first Broadway revival of The Wiz since its original 1970s run, it seemed like a good time to finally watch and review the film version of The Wiz. (We’ll ignore that this should have been done last year for my Blindspot list.) A modern retelling of L. Frank Baum’s classic story with an all-Black cast and different music, The Wiz was a definite Broadway hit, as its seven Tonys can attest, but I knew nothing about the film, beyond Michael Jackson playing the Scarecrow. So it was interesting going in blind to this version of Oz that has gone from a bomb to a cult classic in the 46 years since its release.
While the core isekai story remains the same, The Wiz is quite visually distinct from the Judy Garland classic, relocating from Kansas to urban Harlem and making the child Dorothy into an adult schoolteacher (Diana Ross) nervous to move away from her family neighborhood. When a freak snow twister (happens all the time in Harlem, I’m sure) transports her and her dog Toto to the dystopian land of Oz, the timid girl gathers companions (Jackson, Nipsey Russell, Ted Ross) on her way to ask the Wizard (Richard Pryor) to send her back home.
The Wiz takes some time to find its footing because I was surprisingly bored through initial set-up, and Diana Ross’s affected diffidence was more annoying than sympathetic. It wasn’t until the arrival of Michael Jackson’s Scarecrow and especially Ted Ross’s Cowardly Lion that I began truly enjoying it as a musical. Jackson plays the Scarecrow as a bashful doormat, pulling quotes out of his stuffing like a burlap Mrs. Who from A Wrinkle in Time, while Nipsey Russell is an affable carny Tin Man with some repressed trauma. But Ross as the Lion truly steals the show, matching the mix of insecurity and self-puffery that Bert Lahr brought to the original film, so it’s no wonder he won a Tony for the same role on Broadway. He also proves to be the MVP of the journey, saving the whole group from a subway come to life, in one of several nightmare-fuel sequences that must have haunted some childhoods. Pryor is a decently mousy Wizard, though he doesn’t have enough screen time to make an impression and doesn’t even provide any insight to the other characters; in researching the Broadway production, I was mainly floored to learn that André De Shields of Hadestown fame played the same role on stage.
As for the music, “Ease on Down the Road” is the film’s most famous number, but “I’m a Mean Ole Lion” and “Don’t Nobody Bring Me No Bad News” are fitting showstoppers for the Lion and the Wicked Witch of the West Evillene (Mabel King), respectively. The disco “Emerald City Sequence” also has some gobsmacking set and costume design that illustrates the Wizard’s power as a trendsetter and contrasts with the urban decay of much of the production design. But the true star of the soundtrack is “Everybody Rejoice/A Brand New Day,” Luther Vandross’s utterly catchy and joyful group dance number with the ensemble celebrating Evillene’s defeat, even if it’s made a tad weird by the freed Winkies cavorting in only their underwear.
The Wiz has zero chance of replacing the 1939 film as the definitive Wizard of Oz musical, but it gives the material a worthy spin. I found some of the exaggerated acting a bit strange or overly childish at first, but the 1939 film was guilty of the same and simply benefits from decades of nostalgia, so I can see why time has been kind to people’s perception of The Wiz. It’s certainly uneven but not a total trainwreck, and its high points are worth the price of admission to its strange urban odyssey.
Best line: (Scarecrow) “Success, fame, and fortune, they’re all illusions. All there is that is real is the friendship that two can share.” (Dorothy) “That’s beautiful! Who said that?” (Scarecrow, modestly) “I did.”
When you’re on top of the world, It’s a long way down, And heavy is the haughty head that’s lost its crown.
When people fall from favor And drink a bitter cup, They’re likely to do anything to climb back up.
When rugs are pulled from under Someone in mid-fall, They start to prize stability (or alcohol).
When people face their falling, They break or crack or bounce. You don’t know which ahead of time, but that’s what counts. ____________________________________
MPA rating: R (for language and one sex scene)
I don’t know why I can’t seem to spit out reviews like I used to, but I’m finally back to continue last year’s overdue Blindspot series. It feels like movies nowadays don’t quite leave the same cultural impact as they once did, with famous lines that everyone recognizes, though there are still some (Hunger Games and Endgame come to mind). Jerry Maguire is the poster child of such an impact, a 1990s rom com that introduced not one but at least three iconic lines into pop culture. So it seemed only right that I should learn the context of the likes of “Show me the money!” and “You complete me,” the Tom Cruise hit that won Cuba Gooding, Jr. an Oscar and showcased the cutthroat world of sports agents.
Being a big fan of writer-director Cameron Crowe’s later film Elizabethtown, I was able to recognize how he recycled elements of Jerry Maguire into that film, which may have factored into why it wasn’t as well received. The set-up is essentially the same: a young hotshot excelling in his field is suddenly brought low by a misjudgment on his part that costs him his job and his shallow girlfriend. The difference is that most of that happens to Orlando Bloom within the first ten minutes of Elizabethtown, while the self-destruction of Maguire (Cruise) is far more gradual, as his attempt at reawakening his conscience leaves him with only one loyal client in football player Rod Tidwell (Gooding) and one sympathetic employee in Dorothy Boyd (Renee Zellweger in her breakout role).
In place of Kirsten Dunst’s manic pixie dream girl in Elizabethtown, Dorothy is a far more down-to-earth presence, a working single mother whose romantic relationship with Jerry carries more nuance while also being a bit hard to read at times. I feel like Bonnie Hunt’s role as her supportive sister is rather overlooked as well. Through all the lows and highs, from arguments over Rod’s obstinate demands to the uncertainty of dating a single mother and how to balance his devotion to both, Tom Cruise proves himself to be a winning leading man yet again, with a natural charisma that leaves no doubt as to how Jerry became such a superstar in his field. I do find it funny, though, that Cruise still hasn’t won an Oscar, while Gooding, Zellweger, Crowe, and fellow co-star Regina King have all gotten their golden statue eventually.
I can certainly see why Jerry Maguire was a hit, with an effective Cameron Crowe script full of passion and personality for its star power to embody, as well as a great soundtrack and plenty of fun cameos. Even though I see why the earlier film is more critically acclaimed, I can’t help but prefer Elizabethtown, which is more unrealistically quirky but also more streamlined in its character arc and generally cleaner and funnier. Maybe it’s just that I’m not into sports, but I’m still glad to have finally seen this ‘90s classic. It completes me (or at least my Blindspot list).
Best line (that I didn’t know originated in this movie): (Jerry, begging Rod to be more agreeable) “Help me help you.”
At the turning of the centuries, Though no one knew it then, A babe was born to save the world, Incarnate God. Amen!
But surely you have heard all this; By now it might be trite, The midnight clear, the first Noel, That timeworn silent night.
It’s easy for familiar truths, Traditions every year, To not have quite the gleam they bore When times were more sincere.
Perhaps we may have changed with time, But truths stand hard and fast. Traditions, like God’s promises, Are comfort, for they last.
Although we know them all by heart, We need reminding still, That what the carols advertise Rings true and always will. ____________________________
MPA rating: PG
To complete this trilogy of musical posts, here’s a more recent release from this year. I feel like someone, assumedly director and songwriter Adam Anders, watched The Nativity Story and thought to himself, “This would be even better as a musical” and then made it so. Journey to Bethlehem takes the well-trodden Biblical story of Jesus’ birth and injects a pop-music sensibility that both adds entertainment value while also slightly watering it down.
From the second song, in which Mary is bemoaning her expected role of marrying someone she’s never met, I thought that this was like the High School Musical version of the Christmas story, so I felt vindicated when I read that Anders co-wrote the script with Peter Barsocchini, who also wrote all three HSM movies (of which I remain a fan). So the character types and conflicts are all too familiar, yet the actors make the most of them, with Fiona Palomo as Mary and Milo Manheim (a recent Disney star from the Zombies franchise) as Joseph having an easy chemistry and excellent songs both together and solo. The soundtrack delivers on many levels, some better than others, but highlights include the opening title song and “Mother to a Savior and King,” which explores Mary’s own self-doubt. And I mustn’t forget Antonio Banderas as King Herod, who seems to be having fun mugging through his one song “Good to Be King.”
The plot of Journey to Bethlehem was clearly tweaked from the Biblical record to add peril to the climax and to better space out the musical numbers, so I can understand the decisions on a pure story basis. Yet it felt at times like I was trying to keep track of how many deviations there were from the established narrative. In this film, Herod tries to ignore Rome’s census order but is persuaded to use it solely as a means to find the mother of the foretold Messiah, leading to several close calls where it’s assumed Mary would be immediately recognized as such if she were to be caught. It was also surprising to give a redemption arc to Herod’s son Antipater (Joel Smallbone of the band For King and Country), who gets one of the best songs as well.
Likewise, the wise men, here a trio of bickering comic relief figures (Rizwan Manji, Geno Segers, Omid Djalili), come to Herod even before the census or Jesus’ birth and then leave for Bethlehem (which isn’t far from Jerusalem) to hang out with the shepherds for months perhaps so that they also are witnesses to the heavenly angel chorus. Plus, there are odd omissions, like the absence of Mary’s acceptance of the role declared by Gabriel (Christian rapper Lecrae) during the Annunciation scene or the inclusion of Zechariah’s muteness without any subsequent depiction of his son’s birth.
Yet for all the little things that nagged at me, Journey to Bethlehem is still an entertaining Christmas film, and I never got the sense that the changes were intentionally trying to subvert or undermine the meaning behind the story, which is refreshing. It also boasts impressive costumes and choreography that are far better than they would have been if this were made ten or fifteen years ago. It’s proof of how far Christian films have come. While I’m not quite sure if this movie rises to the level of a perennial classic to watch every Christmas, it’s still a laudable version of the Nativity with a soundtrack that deserves appreciation even outside its target audience.
The question has haunted mankind like a ghost: Can somebody honestly change? It seems that by thirty or forty at most, They’re set in their ways The way furniture stays, The kind you don’t sell but at best rearrange.
And yet we hear tales of how others transform, The hackneyed morality plays. But those are anomalies, far from the norm, For wishers and dopes Who need fuel for their hopes That common unkindness is only a phase.
But Grinches and Scrooges are likely short-term: No heart changes shape when it melts. You can’t shake foundations; they’re simply too firm. It’s nice to believe, But let’s not be naïve. If I don’t plan to change, why should anyone else? __________________________
MPA rating: PG-13
I have long wished that there were more original movie musicals. Rather than waiting for stage musicals to become popular enough to warrant film adaptations, I think there are stories that are better served by getting the movie treatment up front, and Pasek and Paul are leading the way. The Greatest Showman was a mainstream hit, but it seemed like last year’s Spirited didn’t get nearly as much buzz; plus, being an Apple TV+ exclusive means it sadly won’t get the usual annual holiday reruns either. So it seemed only right that I do my own small part to promote this modern retelling of A Christmas Carol, mixed in with meta Scrooged-style comedy milking the chemistry of stars Will Ferrell and Ryan Reynolds.
The twist to this version of the oft-oft-oft-adapted Dickens story is that it is from the ghosts’ perspective, turning the ghost quartet who once haunted Scrooge into a multi-generational corporation where the dead create personalized illusions to improve one terrible person each Christmas. The current Ghost of Christmas Present (Ferrell) is torn about just how much good they’re doing with these individual redemptions but finds a challenge in the form of cynical media manipulator Clint Briggs (Reynolds). While the supposedly “unredeemable” Clint insists he’s too savvy to undergo the usual moral awakening, both he and his ghostly guide must grapple with just how much someone can change.
Where Spirited shines most is what every musical strives for: fantastic musical numbers. Between the upbeat earworms of Pasek and Paul and the stunningly energetic choreography by Chloe Arnold, the big dance numbers go hard. There are good smaller songs too, but when they aim for a Broadway-level showstopper, every single one succeeds, making it truly mind-boggling to me that the soundtrack got no awards attention at all. I was glad when RRR’s “Naatu Naatu” won the Oscar for Best Original Song, but it’s a little galling when this film’s “Good Afternoon” or “Do a Little Good” are better than any of the other nominees. My personal favorite is “Ripple,” which was cut from the film itself (likely for time) but was clearly too good to not include and was thankfully added to the end credits.
As for the rest of the film, it’s a likable redemption story that doesn’t play out quite as predictably as the usual Christmas Carol adaptation. Ferrell’s Ghost of Christmas Present is the film’s heart as he showcases how the hardest person to forgive is oneself, while Reynolds’ Clint fits comfortably into his lovable jerk mold, wielding his self-proclaimed knowledge of human nature to stoke conflict and cancel culture without ever noticing the aftermath. I’ve never been a fan of either actor’s brand of comedy, but, while there are still moments here that don’t always land for me, I’d consider this some of their best work. This is especially because of how well they stretch their musical chops, despite not having much experience with song and dance, the same being true for Octavia Spencer as Clint’s self-loathing employee. The entire cast does a great job, from Broadway heavyweight Patrick Page as Jacob Marley to Sunita Mani and the voice of Tracy Morgan as the other two Christmas ghosts.
Spirited would be a good film with just its plot, but the music puts it into instant classic territory in my book and a film I plan to make part of my annual Christmas movie schedule. It can seem a bit overlong and overwhelming at times, but I enjoyed my second watch this year more than I did last year, when I added it to my top 365 list and then never reviewed it. If a movie can poke holes in cynicism, promote the idea that anyone can change for the better, and make me dance and sing along, that’s my kind of movie.
Best line: (Ferrell’s Ghost of Christmas Present, to a party guest dressed like Buddy the Elf) “You look stupid.”
We all reach an age where a dream is our plan. “I’ll live in a castle.” “I’ll marry that man.” “I’ll dazzle that girl with an overpriced ring.” But plans are a transient thing.
And little by little, our fantasies dim, Our goals and ambitions grow cynically grim, As reveries dwindle to traces. It’s harder to hope in Some window to open With doors slamming shut in our faces.
We all have a trauma of dreams unfulfilled, Of sand castles planned with no chances to build Or rugs pulling out when we’re on the upswing, For plans are a transient thing.
Although we all wish many things to undo, All wishes aren’t false when they fail to come true. Some comfort may be close at hand. Where planning falls short, We can find our support In the good things we couldn’t have planned. _____________________________
MPA rating: PG-13
Leave it to James Gunn to drop one of the best recent Marvel movies before jumping ship to rescue DC’s cinematic endeavors. The Guardians of the Galaxy have always seemed a little bit more separate from the main storyline of the MCU, even though the familial ties with Thanos brought them in league with the Avengers. As far as the three solo outings for the spacefaring team of Starlord (Chris Pratt), Gamora (Zoe Saldaña), Drax (Dave Bautista), Rocket (Bradley Cooper), and Groot (Vin Diesel), plus Nebula (Karen Gillan), Mantis (Pom Klementieff), and others, they have gone about their intergalactic adventures without being overly tied to Marvel continuity, and many would say they are better for it. While Infinity War and Endgame may have thrown a wrench in Gunn’s initial plans for this threequel, he makes the most of his motley space crew to deliver a satisfying conclusion.
It’s easy to miss with all the cracking of skulls and jokes in the first two films, but perennial jerk Rocket Raccoon has remained a mystery up to this point, with a few hints at some traumatic past but little else. Finally, this third film gives him the spotlight, offering what might be the most tragic backstory of any Marvel character, along with an equally despicable villain in the High Evolutionary (the excellent Chukwudi Iwuji), a god-complexing scientist intent on perfecting life and society with little regard for the “lower life forms” he creates along the way. When this maniac sets his sights on capturing Rocket, the Guardians are forced into desperate measures to save his life.
First off, I was relieved that Vol. 3 actually built on the loose threads left in previous films, like the other Gamora left over after Endgame and the revenge plan of the Sovereign leader (Elizabeth Debicki) creating Adam Warlock (Will Poulter). It might have been nice if they weren’t secondary plotlines, but I’m glad they weren’t dropped the way Mordo’s villain buildup was ignored in the second Dr. Strange film. That is more of a concern the wider the MCU continuity spreads. In addition, it’s amazing how well-balanced the script is, giving every character their moment to shine, whether it’s the subtle bond between Rocket and Nebula (the only two Guardians who weren’t snapped away by Thanos) or Drax proving he can do more than fight and act dumb. Plus, it was nice to see Gunn favorite Nathan Fillion finally get a role in the MCU. In addition to the character work, there’s no shortage of outstanding, large-scale action, with better CGI than other recent Marvel entries and one tracking-shot fight scene that is a highlight of the whole franchise.
The question then is how this third film compares with its predecessors, and I’d probably consider it the best of the three. I wasn’t immediately a huge fan of the first film when it came out, but I’ve warmed up to it quite a bit, and the Vol. 2 was great fun, despite overemphasizing its own humor. In contrast to the lightweight Holiday Special on Disney+, this one takes itself much more seriously considering the grave stakes involved, and it boasts yet another fantastic soundtrack (I was ecstatic over the inclusion of Florence and the Machine). It manages to be funny without laughing at itself too much while also being the MCU film most likely to garner tears. Simply put, it’s a near-perfect capstone to the Guardians story and a satisfyingly emotional send-off for the characters and for Gunn’s involvement in the MCU. On the downside, its violence pushes the PG-13 rating, which also includes the MCU’s first needless F-bomb; while others online are rooting for the MCU’s shift into R-rated territory, I am staunchly in favor of it remaining at least somewhat family-friendly. Still, Guardians of the Galaxy Vol. 3 flies higher than any other Marvel movie in years. Time will tell if Gunn can deliver similar results for DC, but he certainly left a legacy at Marvel.
Best line: (Lylla the otter) “You still have a purpose here…. There are the hands that made us, and then there are the hands that guide their hands.”
(For Day 30, the last day of NaPoWriMo, the prompt was to write a palinode, a poem that retracts a view from a previous poem or from earlier in the same poem. I sort of did that yesterday, but it seemed like a good way to reflect on both sequels and the temporary end of NaPoWriMo, until next year.)
When the villain is bested, The henchmen arrested, Then all of the heroes make merry. When credits have rolled, The story is told, And endings are not temporary.
A glad ever after Is sunshine and laughter; What follows is better unsaid. To many’s chagrin, you Cannot just continue When even the last page is read.
Just savor the story That closed in its glory, And you can imagine the rest. Another adaptor Might mar the next chapter. It’s honestly probably best.
Although I’ll allow That a “where are they now?” Would probably earn some applause. Finales are fleeting And bear some repeating, And endings are only a pause. _____________________
MPA rating: PG
While Avatar: The Way of Watergot ribbed for the extended delay between movies, it took Disney two years longer to finally deliver a second Enchanted, dropped half-heartedly on Disney+ late last year. It’s a prime example of a sequel many wanted and wanted to like yet ultimately can’t compete with its predecessor. In retrospect, we didn’t really need to know the details of how “happily ever after” fails to satisfy.
The first Enchanted was a breath of fresh air, a reverse isekai before that was even a term, with doe-eyed Giselle banished from her animated fantasy world to the streets of New York and injecting some much-needed sincerity into the lives of widower Robert (Patrick Dempsey) and his daughter Morgan (Rachel Covey). Years later, the family is seeking something more and moves out to the suburb of Monroeville, much to the chagrin of teenage Morgan (now played by Gabriella Baldacchino). After they struggle to integrate with the community, led by the imperious realtor Malvina Monroe (Maya Rudolph), Giselle uses a wish-granting wand to give them a more “fairy-tale” life, transforming the town into a literal magical land with all the delight and danger that entails.
Like the first film, the best thing about Disenchanted is Amy Adams, whose perky Giselle is progressively changed into an evil stepmother by her wish, since she is literally Morgan’s stepmother. She relishes playing with the caricature and trying to outdo Rudolph’s equally evil Malvina, even sharing a delightful song about their nasty rivalry called “Badder.” It’s a fun idea as the rest of the “real world” characters are brainwashed into fairy tale roles, complete with lavish costumes, but it can also run a bit thin, with Dempsey especially having very little to contribute. And the drama of the climax definitely feels forced, with the magic wand not being used effectively and the stroke of midnight somehow being delayed by jamming a clock tower’s gears.
Even if the plot falls short, it was admittedly nice seeing all the principal actors returning to these beloved characters, including James Marsden’s Edward and Idina Menzel’s Nancy. It was a crime that Menzel didn’t get a chance to sing in the original, and she does finally use her famous pipes with the anthemic “Love Power.” I was glad that Alan Menken and Stephen Schwartz again teamed up for the sequel’s songs, though the lyrics can be lackluster and nothing comes close to the first film’s “That’s How You Know” dance number. Disenchanted does manage to capture at least part of the satirical charm and magic of the original, so it’s not a complete misfire, but it does show how special the first film was in balancing its real and fantastical elements. Even after so much time has passed, it’s still a tough act to follow.
Best line: (Morgan, in response to Edward and Nancy singing) “Does anyone in Andalasia ever just say stuff?” (Giselle) “Not if we can help it!”
(For Day 27 of NaPoWriMo, the prompt was for an emulative poem with a fancy simile and such, but I went off-prompt today. Subverting expectations, you might say.)
See what you want to see, it will be there. Call it a masterpiece, people will stare. Fancy it rotten and treat with disgust, And what was a winner will soon be a bust.
Label it stable, and it shall be so. Flag it as flaky, and look out below. Brand it as brilliant, and all will believe, While those who do not have some grievance to grieve.
What you intend will determine the end, Or at least govern what you recommend. See what you want to see, hoarding or growth, Genius or charlatan, neither or both. ___________________________
MPA rating: PG-13
Considering I already included Glass Onion on my end-of-2022 favorites list, my feelings for it should not be a surprise. Also unsurprising for writer-director Rian Johnson, the reception for this follow-up to 2019’s Knives Out became rather polarized online, with disagreement on just how clever this latest mystery was, or was trying to be. But hey, I really enjoyed The Last Jedi, so I’m clearly not on board the Rian Johnson hate train. With no connection to Knives Out beyond its central detective Benoit Blanc (the ever-classy Daniel Craig), Glass Onion can easily be appraised on its own merits, and even if it doesn’t quite hit the highs of its predecessor, it’s still a deliriously well-crafted film full of twists, cameos, and an all-star ensemble.
Via a complex puzzle box, eccentric tech billionaire Miles Bron (Edward Norton) invites his diverse group of “disruptor” friends to a murder mystery weekend on his private Greek island. Among them are an up-and-coming governor (Kathryn Hahn), a scientist working for Miles’ company (Leslie Odom Jr.), a gun-toting streamer (Dave Bautista), a controversy-magnet supermodel (Kate Hudson), and Miles’ own ex-business partner with a chip on her shoulder (Janelle Monáe). And also unexpectedly invited is Benoit Blanc, ready to jump into action if the fake murder mystery should take an actually deadly turn.
Johnson excels at subverting expectations, which is especially advantageous in the mystery genre. Even if you think you can guess the culprit from the start (and you may well be right), the story does its utmost to cast doubt on every character. As the investigation progresses, Blanc learns of every character having a reason to want Miles dead, yet not much later, reasons come to light for every character to want to keep him alive. And while there’s no connection to Knives Out, Glass Onion shares its structure, taking an abrupt shift at the halfway point to look at the plot from an entirely new perspective, practically guaranteeing a second watch to verify what might have been missed. A good mystery is about the journey, the clues, the twists, just as much as the big reveal, which might be disappointing to some but has a timely message about how much faith we put into reputations.
The cast is certainly game as well, especially Norton as the ingratiatingly extravagant host and Monáe as the wronged Andi Brand, showing more range than her stoic first appearance might indicate. The rest of the cast have their moments to chew the scenery as well, with Bautista and Hudson particularly satirizing the more toxic elements of celebrity. The scene of all of the partygoers arriving at a dock is alone a great showcase of subtle characterization, based just on how they wear their masks in the midst of the pandemic. (It was interesting and a bit odd that the film actually referenced the COVID pandemic, yet promptly side-stepped social distancing with a fake “cure.” Only in the movies….) And, of course, Craig is a perfect gentleman, offering the same perceptive Southern charm as his first appearance and effectively making me forget that he’s James Bond for two hours.
Admittedly, there are things that don’t work quite as well, like the explosive climax that tries to be a moment of empowering rebellion with a clever callback but also borders on cringeworthy and unrealistic. Plus, certain characters get more attention than others, with Odom Jr. sadly being little more than an extra. And while I liked the circuitous reveal, Johnson should take care in his next outing to avoid a potential pattern in his culprits, so as to not be predictable. Despite some self-indulgence, Glass Onion is as entertaining a mystery as any, boasting both layers of genius and a disarming simplicity to match its name. To be honest, I didn’t even know “Glass Onion” was the name of a Beatles song, so kudos on incorporating that as well. I’m definitely looking forward to the next Benoit Blanc adventure.
Best line: (Birdie Jay, the politically incorrect model) “Like Miles said, I’m a truth teller. Some people can’t handle it.” (Blanc) “It’s a dangerous thing to mistake speaking without thought for speaking the truth. Don’t you think?”
(For Day 25 of NaPoWriMo, the prompt was for a love poem with a flower, a parenthetical statement, and unusual line breaks, a la e. e. cummings.)
That face is a face the world should see, Plastered on billboards, Far and wide. Let them come and sing your Praise, brag they saw you (or At least tried), throw their roses and carnations At your feet, as I would mine, And banish any doubt that you are anything but Meant to shine.
In a perfect world, such laud would be yours, Yet here you are, With me Instead. An imperfect world your grace endures, And yet perfection Still You spread To me. __________________________
MPA rating: PG-13
Growing up, I was introduced more to the Nora Ephron side of ‘90s romantic comedies, like Sleepless in Seattle or You’ve Got Mail, and I love them dearly. But I do wonder if I had grown up with their British equivalents if they would be as dear to my heart. Notting Hill is a prime example of a rom com I saw only recently yet seems to have a prominent place in the genre. Featuring Hugh Grant and Julia Roberts in their prime, the film plays like a fairy tale reversal of Pretty Woman, with Roberts as the wealthy elite falling for a down-on-their-luck commoner.
William Thacker (Grant), owner of a struggling travel bookshop in the titular London neighborhood, is surprised when famous actress Anna Scott (Roberts) wanders into his store. Through happenstance and curiosity, the two connect, yet they are chagrined by the aggressive paparazzi and the growing doubt that their different stations in life could support a relationship. The film is an excellent example of writer Richard Curtis’s strengths, like quirky but relatable side characters and an earnest romantic climax, though thankfully with less of the intermittent crudeness of Love Actually.
Both leads are excellent and share an effortless chemistry, Roberts with her million-dollar smile and Grant with his self-deprecating air and diffident line delivery that heighten his everyman role. Rhys Ifans is also a stand-out as William’s ribald roommate Spike, who meanders around their flat as walking comic relief. While the film’s romantic development and sense of humor are rather low-key, making it not quite as memorable as others in the genre, it does have some brilliant moments, like a masterful tracking shot/time lapse where William walks through all four seasons while Notting Hill bustles around him. With its nostalgic soundtrack and feel-good boy-meets-girl romance, Notting Hill makes me want to explore other rom coms of the era that might also be favorites-in-the-making.
Best line: (William) “I live in Notting Hill. You live in Beverly Hills. Everyone in the world knows who you are; my mother has trouble remembering my name.” (Anna) “I’m also just a girl, standing in front of a boy, asking him to love her.”
(For Day 20 of NaPoWriMo, the prompt was to imagine how archaeologists might appraise us in the far future, so I considered how superhero films might be mistaken for historical records.)
Here at the Museum of Archaic History, The Superhero Wing is our most popular display. Not very much survived the EMPs of World War III, But rigorous historians have come to save the day!
It seems that back in yesteryear, some humans wielded talents Of fight or flight or laser eyes, with symbols on their chest. They often rescued many lives and kept the world in balance, As all these documentaries on ancient disks attest.
We think that they were unionized protectors of the peace, Belonging to the rival leagues of Marvel or DC. They dealt with larger dangers too destructive for police, Like evil gods and aliens we now no longer see.
We’ve found that certain famous ones, like Bat- and Spider-Men Could somehow change appearance over years of derring-do. Some believe these new facades came time and time again, Whenever they’d regenerate like noted Doctor Who.
Some records, though, can’t be retrieved from archives decades-plus. We don’t know what became of many stories lost to time. We may not know what happened to Shazam or Morbius, But still we will preserve their tales, the Conquerors of Crime. ___________________________
MPA rating: PG-13
While I tend to favor Marvel movies much more than DC, I quite enjoyed the first Shazam! With teenage Billy Batson granted the powers and adult body of a hero, it was a gleeful example of wish fulfillment while tackling some poignant themes of family and belonging. So I was excited for the sequel, but apparently I was in the minority. Shazam! Fury of the Gods has been a regrettable flop in the face of James Gunn’s takeover of DC, with many citing the planned reboot of the DC universe as a reason to not care about films like this that are probably a mere dead end. It’s unfortunate because even if this sequel does fall short of its predecessor, it’s still an entertaining adventure.
Following the victory of Billy (Asher Angel) and his foster family of empowered kids in the first film, they have settled into an uneasy groove of half-successful heroics around Philadelphia. When two daughters of Atlas (Helen Mirren, Lucy Liu) steal the broken staff of the Wizard (Djimon Hounsou) who gifted Billy his powers, they invade Earth with plans to reclaim the power of the Greek gods and probably destroy our realm in the process.
Zachary Levi is too naturally likable to dislike in this role. Even if he acts more childlike than his character’s actual teen self and makes some annoyingly foolish mistakes, his charisma helps smooth out the disconnect. It’s nice to see older actresses like Mirren and Liu still get a chance to kick butt in movies like this, and Rachel Zegler as the love interest for Billy’s foster brother Freddy is a welcome addition to any cast. Along with its sense of humor, the action and effects are as good as ever with mythological beasts and super-powered beatdowns keeping my inner child happy.
Ultimately, there’s little I can say against the critics who point out the rote villain motivations or the blatant product placement or the literal deus ex machina ending. Those points are true, and the efforts at emotion aren’t as deeply felt as the first film, but I still think Shazam deserved a better reception.
Best line: (The Wizard) “Billy, anyone can be worthy, if given a chance. Now go fight for your family! Go fight for the world!”
