First Glance: “Shang-Chi and the Legend of the Ten Rings”

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Marvel Studios has been making entertainment headlines with their second successful Disney+ streaming series. But now they’re ready to tease their return to the big screen (after “Black Widow” or course) by giving us our first look at “Shang-Chi and the Legend of the Ten Rings”. This is an interesting character choice for the MCU and a chance to breathe some much-needed fresh air into the universe. Shang-Chi (aka The Master of King Fu) is a character with a rich history and the first trailer gives an exciting glimpse into that world.

Simu Liu plays the titular martial artist, trained as an assassin but now hoping to put his troubled past behind him. But when your father is none other than the Mandarin (Tony Leung), one of the greatest supervillains in Marvel history, living a normal life isn’t so easy. The movie is clearly going a different route with the father-son story by tossing out Fu Manchu and bringing in Mandarin. But if that helps erase the Ben Kingsley “Iron Man 3” debacle from my mind I’m all for it. From the peak we get, I love the action, the style, and the assortment of intriguing characters. This could be really good.

“Shang-Chi and the Legend of the Ten Rings” hits theaters September 3rd. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “My Wonderful Wanda” (2021)

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Two families from two completely different worlds collide in Bettina Oberli’s biting satire “My Wonderful Wanda”. The Swiss film had its world premiere at Tribeca where it won a special jury mention in the Nora Ephron Award category. Now this prickly yet often witty dramedy makes it way to the States sporting a wacky “Knives Out” vibe but with a distinct European flavor.

The story (co-written by Oberli and Cooky Ziesche) centers around a Polish single mother named Wanda (played by a well measured Agnieszka Grochowska). She works as a caretaker for Josef Wegmeister-Gloor (André Jung), a 70-year-old family patriarch who was left paralyzed following a severe stroke. Her unique arrangement with the Wegmeister-Gloor family has her traveling to their lakeside villa in Switzerland where she stays for a month or so before going back to her village in Poland to tend to her two young boys. Leaving her sons is tough but she needs the money and the wealthy Wegmeister-Gloors pay well even if they don’t always appreciate ‘the help’.

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Image Courtesy of Kino Lorber

It doesn’t take long to notice the movie’s interest in class and it becomes a central theme that runs throughout Oberli’s ‘three chapters and an epilogue’ structure. Wanda and the Wegmeister-Gloors exist on opposite ends of the social and economic ladders – something Wanda is constantly reminded of by her casually insensitive and often oblivious employers. Yet despite the varying degrees of blue-blooded haughtiness in the Wegmeister-Gloor household, Wanda’s presence highlights how empty their lives have become. And when a particular part of her ‘care’ for Josef leads to her becoming pregnant with his child, the upper-crust rancor really kicks in.

While Wanda is the main character, the Wegmeister-Gloor ménage all have key roles to play and each come with their own individual complexity. Josef is a youthful spirit trapped inside a failing body and he likes Wanda more than his own family (“Don’t leave me with these lunatics,” he pleads). Yet his ‘affection’ for her always comes second to his own sense of privilege. Josef’s wife Elsa (Marthe Keller) genuinely cares for her family but is far too adsorbed in their social standing. “We have a reputation to uphold,” she declares after hearing of Wanda’s pregnancy. Their jittery son Gregor (Jacob Matschenz) is the reluctant heir to his father’s company, but is far more interested in birdwatching and Wanda. Then there’s the snobbish and entitled daughter Sophie (Birgit Minichmayr) who only seem to care about her inheritance and who callously refers to Wanda as “the Pole” whenever she’s not around.

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Image Courtesy of Kino Lorber

Considering all of that, you would expect this to be a movie with a clear-cut hero and villains. After all, Wanda is a woman just trying to take care of her family while the Wegmeister-Gloors exude an air of superiority. But Oberli smartly keeps from overtly vilifying anyone. The film clearly (and rightly) sets our sympathies with Wanda. But even she makes some icky decisions that are hard to get behind. So we end up with an assortment of richly layered characters. Some we want hug, others we want to (figuratively) choke. But most importantly we understand them because Oberli and Ziesche take time and allow them to be more than one-note character types.

Things get pretty crazy in the last chapter when Wanda’s parents and her two sons pay a surprise visit to the Wegmeister-Gloor estate. It’s here that the movie’s clash of class and culture goes full-frontal. Yet (as with everything else in the film) Oberli keeps it all in check, never allowing things to go over-the-top and never losing the all-important human element. And as everything comes to a head, the film’s comical and combative vibes gives way to a overarching sense of sadness and uncertainty. It makes for a fitting finish to a movie that (for the most part) succeeds in blending levity and solemnity. “My Wonderful Wanda” opens April 23rd in select cities.

VERDICT – 4 STARS

4-stars

First Glance: “Riders of Justice”

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Mads Mikkelsen? Sold! That’s all I needed to be interested in the upcoming film “Riders of Justice”. This Danish action-black comedy mix comes from writer-director Anders Thomas Jensen who previously worked with Mikkelsen on the underrated Western “The Salvation” and the astutely titled “Men & Chicken”. With “Riders” Jensen looks to be pulling from both of those movies, meaning we are in for some gritty violence along with some wacky spurts of dark humor. The new trailer certainly backs that up.

Mikkelsen plays a soldier returning from deployment after his wife is killed in a subway explosion. Late one evening a survivor shows up at his house and tells him the explosion wasn’t an accident. He claims it was a bombing meant to kill the brother of a notorious biker gang leader. This sets the grizzled Mikkelsen on a violent revenge-fueled quest to uncover those responsible and (of course) make them pay. I love the look of this and I wouldn’t be surprised if there are more layers to the story than what the trailer shows us.

“Riders of Justice” opens May 21st in select theaters and on VOD. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “The Tunnel” (2021)

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The new (at least in the States) Norwegian disaster movie “The Tunnel” opens by dropping a few interesting facts that adds some perspective to what we are about to see. We learn that there are 1100 tunnels throughout Norway, most without emergency exits or safety rooms. The title cards go on to say that since 2011 there have been eight major tunnel fires and it was the heroic acts of survivors and first responders that ultimately saved countless lives. Those events and those acts are the inspiration for director Pål Øie’s film.

I call the film “new”, but it actually opened in Norway back in 2019. Now it has made its way further west and American audiences can take in a movie that has many of the usual disaster movie ingredients. We get the large cast full of characters with different roles to play. Some are victims fighting to survive; others are rescue workers trying to save them. You get the devastating event, the dramatic close calls, children in peril, a heroic sacrifice, etc. You get the one jerk everyone wants to punch in the mouth, the troubled family that needs a good disaster to bring them back together, and even the ominous tried-and-true warning “There’s a storm coming.”

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Image Courtesy of Samuel Goldwyn Films

Yet “The Tunnel” still works in large part because of its tight focus and kinetic pacing. It also helps to have solid performances from a cast who never overplays it (with one small exception). First time feature screenwriter Kjersti Helen Rasmussen doesn’t fully avoid the genre trappings which leads to a predictability the movie never can quite shake. But she does infuse her story with humanity (which should be at the core of every film like this) while also delivering enough thrills to keep things exciting.

It’s the Christmas season and Elise (Ylva Fuglerud) is having a rough time. It has been three years since her mother died, and as anyone who has lost someone close will tell you, the holidays are tough when you’re still mourning. Elise’s father Stein (a stoic Thorbjørn Harr) plows icy roads and leads convoys for Emergency Services. He also has a new girlfriend Ingrid (Lisa Carlehed) and he would like her to spend Christmas with them. As you might expect, this goes over like a lead balloon. Elise storms off and in a moment of frustration hops on a bus bound for Oslo.

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Image Courtesy of Samuel Goldwyn Films

Further up in the snow-covered mountains (some 3117 feet above sea level), as travelers hurry home for the holidays, a tanker truck crashes deep within the 5.6 mile-long Storfjell tunnel. At first it looks to be nothing more than an annoying and inconvenient traffic jam, but we know better. A fuel leak and a spark from an electrical box causes a fiery explosion which fills the tunnel with blinding black smoke and toxic fumes. As those trapped struggle amid the chaos, emergency teams mobilize outside including Stein who is called in to help coordinate the rescue effort. But little does he know the bus carrying his daughter is among the many vehicles packed inside. Didn’t see that coming, did you?

A few other pieces are placed on the board including a family of four returning from a Christmas party, a hot-headed young fireman named Ivar (Mikkel Bratt Silset), and the best – a Road Traffic Control operator named Andrea (Ingvild Holthe Bygdnes). All have parts to play as Øie deftly maneuvers around an assortment of clichés and easy-to-read outcomes. But by highlighting the heroism and keeping things focused on the people rather than the spectacle, “The Tunnel” gives its audience something authentic to latch onto and root for. “The Tunnel” is now streaming on VOD.

VERDICT – 3.5 STARS

3-5-stars

First Glance: “Monster”

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A terrific cast leads the way in the upcoming Netflix drama “Monster”. The movie premiered waaay back in 2018 at Sundance and is just now getting released thanks to Netflix. The movie follows a 17-year-old high school honor student with a love for photography who has his young life derailed after he is accused and eventually charged with felony murder. A dense and emotionally-charged legal battle ensues which allows director Anthony Mandler to plow some pretty potent ground.

Aside from an interesting story, “Monster” packs an attention-grabbed ensemble. Rising star Kelvin Harrison, Jr. gets the lead role and is joined by a rich supporting cast including Jeffrey Wright, Jennifer Hudson, John David Washington, Tim Blake Nelson, Jharrel Jerome, and Jennifer Ehle among others. The recent trailer drop is pretty enticing. There are a couple of iffy on-the-nose lines of dialogue, but if the movie can avoid that trap this could be really good.

“Monster” premieres May 7th on Netflix. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Vanquish” (2021)

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A cool idea can go a long way in making a good movie. But rarely is a movie good solely because of a cool idea. That speaks to the biggest problem with “Vanquish”, the new crime thriller directed and co-written by George Gallo. The movie’s snappy premise is action movie junk food, the perfect scenario for wild car chases, shoot-outs, and all sorts of cinematic mayhem. It’s the pieces around it that ends up dragging the whole thing down.

Although he’s been working pretty steady for over three decades, George Gallo is probably still known best as the screenwriter for “Midnight Run” and the first “Bad Boys” movie. With “Vanquish” he takes budding action star Ruby Rose and teams her with screen veteran Morgan Freeman. Both prove to be more than capable of pulling their weight and selling their roles. It’s the unconvincing supporting characters around them and the wafer-thin story that squashes any potential. It ends up being a movie all about the action beats and not much else.

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Image Courtesy of Lionsgate

A lengthy opening credits scene introduces us to Freeman’s character. He plays Damon Hickey, a highly decorated former police detective who later became known as “America’s Police Commissioner”. But then he was gunned down on the front steps of his home by a drug cartel seeking retribution. He survived the attempted hit but was left paralyzed and confined to a wheelchair for the rest of his life. Now he lives in a posh ultra-modern home where he’s visited daily by his caregiver, a young single mom named Vicky (Rose).

It doesn’t take long for us to learn that “America’s Police Commissioner” has a dark side. It turns out he runs a shady crew of dirty cops and they have their hands in some ugly underworld business. But good luck making much sense of it. Unfortunately it’s all pretty muddled and woefully underwritten. Basically you have dirty cops and dirtier cops, a crooked federal agent and an angry German drug-runner with a vendetta. More importantly, Damon has five bags of money at different locations around the city and he needs someone he can trust to make the pickups. So he asks Vicky to dust off some lethal skills from her past that she has tried to bury and retrieve his cash. And just to make sure she falls in line, Damon has Vicky’s daughter kidnapped until all five pickups are complete.

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Image Courtesy of Lionsgate

For the sake of her daughter, Vicky reluctantly agrees. The movie then becomes a series of five action-laced encounters as she picks up a bag of money, has it out with some double-crossing baddies, and takes the cash back to Damon who then gives her the address for the next pickup. In between we get snippets of a broader story about police corruption but it’s so insubstantial you won’t even care. You’ll want more of Ruby Rose cutting through thugs with her pistols as Freeman keeps tabs through her body-cam. The two have a good chemistry and do what they can to keep the film afloat.

But ultimately “Vanquish” needs more than a fun action loop and two well-tuned stars. Gallo tries to spruce things up with the few stylish flourishes, such as bathing several scenes in fluorescent greens and blues, or by occasionally shifting to first-person view when Vicky is zipping through the night on her motorcycle. But the bland band of supporting players and the even more forgettable story (complete with a preposterous ending) are liabilities too big to overcome. “Vanquish” opens April 16th on VOD.

VERDICT – 2 STARS

2-stars