Category Archives: Movie Reviews – M

REVIEW: “The Mule”

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Even at the spry young age of of 88 Clint Eastwood remains a captivating presence behind the camera and especially on the movie screen. With “The Mule” he shows he still has the acting chops to carry a movie and he’s still a solid director who can tell a good story even if the material isn’t always up to snuff.

“The Mule” is based on a 2014 New York Times article by Sam Dolnick. It detailed the crazy true story of 90-Year-Old Leo Sharp and his life as one of the most prolific drug mules in history. For over ten years Sharp transported thousands of pounds of cocaine across the country for the Sinaloa Cartel. The article was adapted by screenwriter Nick Schenk who previously worked with Eastwood on “Gran Torino”.

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Eastwood plays Earl Stone (inspired by Leo Sharp), an esteemed horticulturist known for his award-winning daylilies. But with the rise of the internet Earl finds his once bustling greenhouse out of business. His family wants nothing to do with him after years of neglect save his soon-to-be-married granddaughter Ginny (Taissa Farmiga). Earl’s ex-wife Mary (Dianne Wiest) and daughter Iris (Alison Eastwood) aren’t as forgiving and with good reason.

Broke and estranged, Earl takes the job of a “mule” for a Mexican cartel. Several successful runs later, he finds himself rolling in cash and in good standing with the the cartel boss (Andy Garcia). He hopes to use his newfound wealth to regain his community status and make amends with his family but finds out nothing is certain in such a dangerous and volatile business.

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We also get a parallel story of a Chicago-based DEA agent (Bradley Cooper) hungry for a big bust. This story thread follows him and his partner (Michael Peña) as they try to plug the flow of drugs into the city. It’s inevitable that they and Earl eventually cross paths, the trailer tells us as much. Interesting idea but unfortunately everything about their investigation up to that point is so restrained that it offers very little in terms of suspense or drama.

It’s tempting to go into “The Mule” expecting a tense crime thriller. That’s certainly how the trailer frames it. There are moments of that, but ultimately this isn’t that kind of movie. It’s all about a man running from his guilt, seeing the light, but still left to reckon with the choices he has made. It’s this primary focus that makes “The Mule” work. And don’t let his age fool you, Clint Eastwood remains a fascinating and immensely watchable presence.

VERDICT – 3.5 STARS

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REVIEW: “Malevolent” (2018)

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In the new Netflix Original “Malevolent” siblings Angela (Florence Pugh) and Jackson (Ben Lloyd-Hughes) own and operate Sayers Medium Service. It’s basically a paranormal racket where they dupe grieving clients into believing they can communicate with their loved ones or in some cases drive out their ghosts. I bet you can already see where this is going.

The story is set in 1986 Glasgow. I’m not really sure about the significance of 1986 other than it conveniently rules out cellphones and it forces the twenty-something hucksters to use older (and potentially spookier) recording equipment when pulling off their ruse. Regardless, Angela is contacted by Mrs. Green (a very good Celia Imrie) who lives in a creepy old foster home she once ran. Mrs. Green claims ghosts of the little girls haunt the home and she desperately wants them silenced.

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Angela turns down the job as she is growing more and more uncomfortable with their scam. After a little haggling over some old family baggage, Jackson calls Mrs. Green back and promptly accepts. Turns out he owes money to some pretty bad dudes and is in quick need of some cash. Along with their cameraman Elliot (Scott Chambers) and equipment operator Beth (Georgina Bevan) the siblings head to Mrs. Green’s remote and fittingly spooky place.

To no viewer’s surprise there is something freaky going on at Mrs. Green’s foster home. Icelandic director Olaf de Fleur leans on a handful of conventional horror tropes but wisely he never fully relies on them. Instead he toys with us about what we are seeing. Is it psychological or in fact ghostly? That question lingers until the macabre final act that feels slightly at odds tonally but admittedly fun and satisfying.

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Another strength is Pugh’s performance. She is the film’s emotional center and asked to carry that load throughout the movie. She’s an impressive young actress as evident by her work in 2016’s highly acclaimed “Lady Macbeth”. Here the camera puts a lot of its focus on her. The material doesn’t allow for a particularly dynamic performance but she is still consistently good.

While “Malevolent” does a lot of things right I still wouldn’t call it a game-changer or even particularly fresh. But several smart decisions turns it into a surprisingly effective genre movie. And in a day when really bad horror movies are churned out by the dozens, “Malevolent” does stand out. So perhaps it’s a little bit fresher than I’m giving it credit for.

VERDICT – 3.5 STARS

3-5-stars

REVIEW: “The Meg”

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One of the good things about seeing “The Meg” is that you pretty much know exactly what you’re going to get. I give the filmmakers credit for not even attempting to hide what they are going for – goofy, preposterous and a whole lot of Jason Statham. It all comes down to whether it has enough fun, humor and self-awareness to keep us onboard.

Statham plays Jonas Taylor, the former head of a deep sea rescue team now ostracized after a mission goes terribly bad. Now, instead of saving people, he spends his days off the grid boozing in Thailand.

Meanwhile a billion dollar research station 200 miles off the coast of China discovers a new ecosystem below the floor of the Mariana Trench. A team descends to explore the discovery but are attacked by something really, really big leaving them stranded and with limited life support. That’s enough to bring back the blackballed Jonas to attempt a daring rescue.

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“The Meg” opens a bit slowly with the rescue mission which introduces the cast of characters and reveals the not-so-surprising threat. It’s a Megalodon, the mother of all sharks and thought to be extinct for 2 million years. The rescue attempt inadvertently unleashes the beast (gulp) and its up to the team to find a way to stop it. But as Jonas proclaims in one of my favorite cheesy lines “Man versus meg isn’t a fight. It’s a slaughter”. Truer (and cornier) words have never been said.

The second half features director Jon Turteltaub fully embracing the 1950’s monster B-movie blueprint. Things get more absurd, the special effects get a lot bigger, and the story gets even more predictable. That’s not to say it isn’t fun. There are plenty of big popcorn movie moments and silly over-the-top action. And just when you think it’s taking itself too seriously, in drops a timely cheesy line of dialogue or a particularly goofy sequence.

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A pretty good supporting cast helps navigate the film’s megalodon infested waters. Li Bingbing plays headstrong oceanographer Suyin who runs the research station with her father played by Winston Chao. Rainn “The Office” Wilson pops as the station’s billionaire financier and hit-or-miss comic relief. Cliff Curtis, Ruby Rose and a handful of others fill out the cadre of potential shark food.

While “The Meg” doesn’t exactly burst out of the gate and its balance between serious and self-aware is sometimes off, it still manages to do what it intends. Within its ocean of cliches, one-liners, and ridiculous man vs. sea monster set pieces is a fun and often hilarious bit of throwaway entertainment. Pay no attention to its attempts at feeling and romance. Just stay for the shark and the goofiness that ensues. That was enough for me.

VERDICT – 3 STARS

3-stars

REVIEW: “Mission: Impossible – Fallout”

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What started as a successful but slightly schizophrenic pet project has evolved into one of my very favorite movie franchises. Aside from the common thread of their high-profile star, the first three “Mission Impossible” installments couldn’t feel more different. It was mainly due to having three very different directors, each with their own unique stamp. While I enjoyed each of them to varying degrees, it was still tough to put a finger on what the series wanted to be.

That started to change with “Ghost Protocol” from director #4 Brad Bird. It put pieces in place and set the table for director #5 Christopher McQuarrie and what would be the best “MI” movie to date. “Rogue Nation” not only felt connected to its predecessor beyond Tom Cruise’s presence, but it was incredibly well made and left audiences with a much clearer vision of what the franchise is shooting for.

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Fans of “Rogue Nation” rejoice. Christopher McQuarrie breaks the revolving director trend and returns for “Fallout”, a movie that ups the ante in terms of breathtaking action yet still tells a thrilling story that well serves its fabulous band of characters.

McQuarrie has been working towards “Fallout”, building its framework for several films now. He did uncredited rewrites for “Ghost Protocol”, co-wrote “Rogue Nation”, and handles the entire script for “Fallout”. This is his baby and he knocks it out of the park. Of course Cruise returns along with mainstays Ving Rhames and Simon Pegg. Also back is Rebecca Ferguson who debuted and stole the show in “Rogue Nation”.

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In a prologue 56-year-old (but far from looking it) Cruise’s Ethan Hunt is informed that three plutonium cores have been stolen by a terrorist group calling themselves The Apostles. They are an offshoot of the Syndicate (see “Rogue Nation”) ran by a mystery man named John Lark. Ethan calls in his IMF cohorts, the neurotic Benji (Pegg) and easy-going Luther (Rhames), to help regain the cores, but the mission goes awry and the plutonium heads to the black market.

Ethan is able to track the plutonium to Paris where a transaction is set to take place near the Grand Palais. Before he can head that way freshly christened CIA Director Sloane (Angela Bassett) orders him to take along Agent Walker (Henry Cavill), a CIA ‘observer’ and Sloane’s own personal “hammer”. Basically he’s sent to make sure the mission succeeds whatever the cost. As Cavill says in his wriest and driest voice “That’s the job.”

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If you follow the series you know the story can’t possible stay in one location. In addition to Paris we make stops in Belfast, London, even Kashmir (played by Norway). Along the way we get a white-knuckled motorcycle chase around the Arc de Triomphe, a foot race across London rooftops (which actually resulted in Cruise breaking his ankle), a mind-blowing helicopter duel through the snow-capped mountains of Kashmir, just to name a few. The action sequences are nothing short of exhilarating, mostly done through traditional stunt work and practical effects. The touches of CGI make a handful of scenes even more breathtaking. And what’s best is McQuarrie shoots them with visual coherence. No indecipherable shaky cams and quick cuts. It’s something to behold.

But “Fallout” is more that credits-to-credits action. McQuarrie threads these sequences together with a classic-style spy story full of twists, double-crosses, intersecting plotlines and of course one big nuclear threat. In the middle of it all is returning “Rogue Nation” baddie Solomon Lane (Sean Harris), an anarchist with a personal axe to grind with the current world order and with Ethan Hunt. His two-headed mantra “The greater the suffering, the greater the peace” is just as much directed at Ethan as to the world system. Adding another kink is the resurfacing of Ilsa Faust (Ferguson), once out of the game but now back in and with her own mysterious agenda.

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McQuarrie moves us through his wonderfully knotty plot at a crackling pace, tossing us enough twists and turns to ensure there is no downtime for measuring if every piece lines up perfectly. But it’s smart enough to keep us locked in and constantly guessing. And Cruise remains the heart of the franchise. His insane physicality and daredevil willingness to risk life and limb for every shot has never been more evident. But it’s the character-centric moments that speak volumes. He’s still a vulnerable hero, even a bit naïve. And more than any other “M:I” installment, “Fallout” centralizes his unshakable moral code as key component of not just this film but the entire series.

“Mission: Impossible” continues to be the rare film franchise that actually gets better with age. “Fallout” makes no attempt to reinvent the wheel. Instead it takes the best elements of its predecessors and then cranks the dial past 10. Cruise and company’s ability to consistently up their game has culminated in this action movie masterclass that earns every ounce of acclaim it’s getting. Knowing their history I’m definitely onboard for more. But if the next movie’s mission, should they choose to accept it, is to top “Fallout” it could truly prove to be impossible.

VERDICT – 5 STARS

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5star

Retro Review: “Mission: Impossible” (1996)

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Paramount Pictures had repeatedly tried and failed to adapt the “Mission Impossible” television series to the big screen. Tom Cruise loved the show as a kid and began working on his vision for it. He believed so strongly in the project that he made it the first film developed under the banner of his fledgling production company. The two came together and in 1996 this unique interpretation hit theaters.

The first signal that “Mission Impossible” aimed to be different came with the signing of director Brian De Palma. Though not unfamiliar with studio blockbusters, De Palma came to the film with his own peculiar sensibilities. You see it on the technical side with his extreme closeups and fascinating camera perspectives. But also through his deconstruction of the popular long-running TV series and its characters. That’s what prompted the biggest response from fans of the show.

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Obviously “M:I” launched Cruise’s upstanding Ethan Hunt character, less sexualized than James Bond but with the same unflinching moral code. The film begins with Ethan as the frontman for a covert IMF (Impossible Missions Force) mission in Prague. A very good Jon Voight takes over for Peter Graves as John Phelps, the team leader who sends his team to nab a top secret list of undercover IMF agents from the U.S. Embassy before it falls into the wrong hands.

Things go terribly wrong, a mole is unearthed and Ethan finds himself in the crosshairs of IMF director Kittridge (Henry Czerny) who brands him Public Enemy No. 1. He seeks out the help of fellow disavowed agents Luther Stickell (Ving Rhames) and Franz Krieger (Jean Reno) to root out the mole and clear his name. The wonderful Vanessa Redgrave plays a crafty arms dealer, Emmanuelle Béart plays a mysterious IMF agent, and even Emilio Estevez pops up as a not-so-superhacker.

It was interesting to rewatch “M:I” in light of how we routinely see these types of movies today. It’s a blockbuster uninterested in franchise blueprints, shared universes, or other big budget considerations. Those things weren’t as prevelant at the time which allowed for De Palma to play with his Hitchcockian and genre thriller influences.

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I still remember the initial reactions from people I knew who didn’t quite know what to make of it. The big finale aside, “Mission Impossible” subverted the blockbuster at nearly every turn. Now keep in mind it was 1996. It shared a big chunk of the summer box office with “Independence Day”, a movie all about fast-paced action and large-scale destruction. “M:I” had a much different idea. Build quiet and focused sequences where a simple bead of sweat can create white-knuckled tension. Of course the famous train sequence showed De Palma could also go big and the scene was a unknowing prophecy of what the franchise would become famous for.

Over time I’ve grown to appreciate this movie more and more. Of course the irony of it all is that this weekend the sixth installment in the “Mission: Impossible” series hits theaters. A subversive first film that went out of its way to break the blockbuster mold birthed a multi-billion dollar franchise. But just like the original, the series has consistently differentiated itself from most other big properties and it has only gotten better. Much of that is due to a perceptive Tom Cruise and he certainly got things started on the right foot.

VERDICT – 4 STARS

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Blind Spot Review: “My Night at Maud’s”

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“My Night at Maud’s” is technically the third installment in Éric Rohmer’s Six Moral Tales series even though it was the fourth film made. Due to a required Christmas time shoot and prior commitments, lead actor Jean-Louis Trintignant wasn’t available until the following year. That little nugget aside, the film became Rohmer’s first big critical and commercial success both in France and in the United States.

Rohmer was the oldest of the French New Wave pioneers, nearly ten years the senior of his contemporaries. He was also known for being stylistically reserved compared to Godard, Truffaut and the like. But that doesn’t mean his films weren’t bucking trends. Quite the opposite. Just watch a Rohmer film and you can’t help but see the La Nouvelle Vague sensibility.

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His Six Moral Tales basically follow the same narrative framework. They feature individuals who find their own moral code challenged in one way or another. More specifically, they are men who are in love with a woman but find themselves tempted by another. A big part of the focus is on how each of their personal moral codes lead them through their crisis.

In “My Night at Maud’s” we have a devout Catholic named Jean-Louis (Trintignant). He is firm in his beliefs and in the practice of his faith. He’s fallen for a young blonde parishioner (Marie-Christine Barrault) from a church he attends even though he has never spoken with her. But it’s not for lack of trying. He follows her out of church or down the tight city streets only to lose her around a corner.

One evening Jean-Louis bumps into an old childhood friend Vidal (Antoine Vitez), a brash opinionated fellow who rather enjoys the chance to needle and poke. Vidal convinces Jean-Louis to accompany him on a late night visit to a recently divorced friend named Maud (played by the captivating Françoise Fabian). The three share an evening of conversations about love, marriage, Christianity, and the writings of Blaise Pascal. After Vidal leaves Maud encourages Jean-Louis to stay. What follows is a seductive game of cat-and-mouse versus a deeply-held set of moral convictions.

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Rohmer’s audacious middle act is filled with long talky takes mostly between Jean-Louis and Maud and that’s not a knock on it. Just the opposite. The natural flow of the dialogue and the subtle movements of Néstor Almendros’ camera completely sells it and keeps us locked onto these two characters. We also get a good sense of Jean-Louis and Maud’s fascinations with each other and their differing perspectives on practically everything. Plus seeds are planted throughout the conversations that surface in the last act.

Over the years the chatty middle act is what “My Night at Maud’s” has become known for. The title itself contributes to that perception. But there is more to Rohmer’s film than that both before and after the signature scene. As with all French New Wave films, this one still feels fresh and unique. Nearly fifty years after its release you still see it bucking trends and plowing new ground. That alone is a remarkable accomplishment.

VERDICT – 4.5 STARS

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