This week on The CineSnob Podcast, Cody and Jerrod review the new horror/comedy from Jordan Peele, “Get Out.” They also hand out their Oscar picks, and take look at “Moonlight” as it hits home release on Tuesday.
[00:00-17:45] Intro/inside podcast talk
[17:45-41:29] Oscar picks
[41:29-52:51] Review: “Get Out”
[52:51-1:04:50] No Ticket Required: “Moonlight”
[1:04:50-1:15:46] Wrap up/tease
Click here to download the episode!
Ep. 95 – Logan (spoilers start at 53:52), The Great Wall, A Cure For Wellness, and why can’t WB nail down The Batman?
This week on The CineSnob Podcast, Cody, Jerrod and special guest critic James Roberts review “Logan” (spoilers for the movie start at 53:52, so be wary!), “The Great Wall” and “A Cure For Wellness.” They also wonder just what the hell is going on with Warner Bros. losing yet another director for “The Batman.”
[14:09-38:56] News: Director Matt Reeves might be walking away from “The Batman,” leaving the movie in disarray
[38:56-1:02:50] Review: “Logan” (spoilers run 53:52-1:02:16)
[1:02:50-1:14:31] “The Great Wall”
[1:14:31-1:24:56] “A Cure For Wellness”
[1:24:56-1:36:07] No Ticket Required: “Manchester by the Sea”
[1:36:07-1:43:41] Wrap up/tease
Click here to download the episode!
Starring: Hugh Jackman, Patrick Stewart, Dafne Keen
Directed by: James Mangold (“The Wolverine”)
Written by: Scott Frank (“The Wolverine”) & James Mangold (“Walk The Line”) and Michael Green (“Green Lantern”)
In the 17 years since Bryan Singer’s “X-Men” birthed the modern comic book movie, there have been a sizable number of really good films in the genre—but transcendent ones are as rare as adamantium. 2008’s “The Dark Knight” obviously makes that list, and many would put 2012’s “The Avengers” right behind it, followed in some circles by last year’s “Deadpool.” And now, nearly two decades after his first, career-making appearance as Wolverine, Hugh Jackman and director James Mangold join their company and outdo every film in the X-series—and most comic book movies, period–with the R-rated “Logan.”
Set in 2029 after something mysterious (and blissfully unexplored) left most mutants dead, “Logan” opens with Jackman’s erstwhile berserker X-Man, weak and hungover, sleeping in a limousine. When a group of guys try to steal his rims, Logan can’t muster the strength to take them down—until a shotgun blast to the chest awakens his anger and he cuts them to ribbons. Later, he’s met by a woman named Gabriela (Elizabeth Rodriguez) who offers him $50,000 to take her and her young daughter, Laura (Dafne Keen) to North Dakota—both of whom are also wanted by a ruthless, robotic-handed mercenary Donald Pierce (Boyd Holbrook). When the shit hits the fan, Logan and an elderly, dementia-addled Charles Xavier (Patrick Stewart) escape in the limo with Laura, who mysteriously mirrors Logan in both rage and the presence of razor-sharp claws that extend from her appendages.
Clearly owing a debt to the financial success of the brilliantly profane and grisly “Deadpool,” Jackman and Mangold were taken off the PG-13 leash, free to pepper “Logan” (seemingly not beholden to much of the series’ notoriously convoluted timeline) with all of the fucks and gory decapitations that have been missing from the character’s DNA. It pays off, too, allowing the film’s achingly bleak, last-of-its-kind tone to wash over everything without the compromise normally required for something meant to sell action figures and breakfast cereal. 17 years later, after pretty great movies (“X2,” “X-Men: Days of Future Past”) horrible duds (“X-Men Origins: Wolverine”) and underappreciated turns missing just a little something (“The Wolverine”), Jackman—in what he insists is his final performance in a role he 100 percent owns—finally has his comic book movie masterpiece.
Starring: Matt Damon, Tian Jing, Andy Lau
Directed by: Yimou Zhang (“House of Flying Daggers,” “Hero”)
Written by: Carlo Bernard (“Prince of Persia: The Sands of Time”), Doug Miro (“The Sorcerer’s Apprentice”) and Tony Gilroy (“The Bourne Ultimatum”)
For those prematurely concerned with another Hollywood whitewashing of Asian culture when “The Great Wall” was announced with star Matt Damon, rest assured: this is most definitely a Chinese movie with Americans along for the ride. With most of the dialogue in Mandarin (with English subtitles) and some of the Chinese film industry’s biggest stars in actor Andy Lau and acclaimed director Zhang Yimou, “The Great Wall” doesn’t feel culturally compromised (at least to this ugly American), but it doesn’t ever fully embrace its potential for mash-up weirdness either.
When a pair of European men, William (Damon) and Tovar (Pedro Pascal), narrowly escape a monstrous creature while on the hunt for black powder in China during the Song dynasty, they stumble across the Great Wall as the color-coded soldiers prepare for an attack by the Tao Tie. The Chinese army, made of up archers, wall-walking infantrymen, and rope-assisted crane fighting women, are defending the capital from the creatures (essentially telepathic monster dogs who came to earth in a meteor and represent greed!). When William proves himself to be an effective warrior, he earns the trust of Commander Lin Mae (Tian Jing) and devises a plan alongside the Chinese soldiers to defeat the dog-monsters once and for all.
While “The Great Wall” isn’t a bad movie, it is mostly a boring one—and one that leaves what could be epic multicultural weirdness on the table. Damon is fine, if not totally committed, to the role of a semi-scoundrel looking for honor, but the trio of screenwriters (including frequent Damon collaborator Tony Gilroy) fail to drum up much internal conflict for William—or anyone else for that matter. “The Great Wall” presents its conflict (the fight against the telepathic dog-monsters from space), the threat they pose (the dog-monsters have breached the Great Wall) and the unlikely secret weapon Damon introduces (a magnet!) that can help take the Tao Tie down and save the planet in the process. If that sounds potentially bananas, especially in the hands of Zhang, you’d be right. But “The Great Wall” never lives up to its batshit crazy potential.
Ep. 94 – The LEGO Batman Movie, John Wick: Chapter 2, Eagles of Death Metal: Nos Amis, The Edge of Seventeen, and Beavis & Butt-head: The Complete Collection
This week on The CineSnob Podcast, Jerrod and Cody review “The LEGO Batman Movie” and “John Wick: Chapter 2.” They also dive in to new home entertainment releases “Eagles of Death Metal: Nos Amis,” “The Edge of Seventeen,” and “Beavis & Butt-head: The Complete Collection.”
[00:00-29:30] Intro/SXSW tease
[29:30-44:48] Review: “The LEGO Batman Movie”
[44:48-56:37] Review: “John Wick: Chapter 2”
[56:37-1:19:19] No Ticket Required: “Eagles of Death Metal: Nos Amis,” “The Edge of Seventeen,” and “Beavis & Butt-head: The Complete Collection”
[1:19:19-1:22:50] Wrap up/tease
Click here to download the episode!
This week on The CineSnob Podcast, Cody and Jerrod review M. Night Shyamalan’s “Split” and the so-called “The Social Network with hamburgers” biopic “The Founder” starring Michael Keaton. They also recap Woody Harrelson’s live film “Lost in London” which was presented live across the country by Fathom Events.
[00:00-22:12] Intro/”Lost in London” recap
[22:12-36:19] “Split” review
[36:19-49:13] “The Founder” review
[49:13-59:32] Wrap up/tease
Click here to download the episode!
Starring: James McAvoy, Anya Taylor-Joy, Haley Lu Richardson
Directed by: M. Night Shyamalan (“The Sixth Sense,” “Unbreakable”)
Written by: M. Night Shyamalan (“The Visit,” “After Earth”)
Former Hollywood golden boy M. Night Shyamalan has been working on a comeback for longer than he was at the top of his game, and since the double-sided nadir of “The Last Airbender” and “After Earth,” Shyamalan has gone small, like a former world-class athlete rebuilding his game in the minors. 2015’s “The Visit” was a fun found-footage horror romp with zero big stars and a sly wink at the audience from time to time. With his latest, “Split,” Shyamalan starts to play a little hero ball like it’s 2001 again, shooting to spin an intimate psychological thriller into an epic tale of supernatural ability using showy performances and, yes, a twist–with mixed results.
At a birthday party for popular high school student Claire (Haely Lu Richardson), the quiet, introverted Casey (Anya Taylor-Joy) remains an outcast, invited only so it wouldn’t be awkward in class. When it’s time to go, Casey hitches a reluctant ride with Claire, Claire’s dad, and Claire’s friend Marcia (Jessica Sula), only Claire’s dad is knocked out before he can get in the car and the three girls are taken by a stranger named Kevin (James McAvoy) and locked in an underground bunker. When the girls come to, they find that Kevin suffers from dissociative identity disorder, and they’re visited and/or tormented by several identities including manically methodical Dennis, taciturn Miss Patricia, and lisping 9-year-old Hedwig. These identities are revolting against the reasonable artist persona Barry, who keeps trying to break through and reach psychiatrist Dr. Karen Fletcher (Betty Buckley) — who likens Kevin’s disorder to superhuman abilities — before an unknown entity known as “The Beast” arrives to devour the captive girls.
While McAvoy’s go-for-broke performance as the multiple personalities is bold and grimly funny at times, the nearly two-hour run time leaves a few aspects teetering on the brink of annoyance (I’m looking at you, Hedwig). Also puzzling is the inclusion of a grossly depressing backstory for Taylor-Joy’s Claire that does essentially nothing for the plot accept to provide a head-scratching end to the climax and an icky aftertaste in the epilogue. Why her character was made to suffer that fate to have such a confusing payoff is a mystery.
So, let’s talk about the twist—which, really, has more in common with the Marvel school of post-credits stingers that open up the movie’s world instead of turning what we just watched on its ear. It’s a bold decision, for sure, and it’s hard to decide if it’s a brilliant move or a boneheaded one. Either way, it will make you leave the theater talking. Although it’s a little like watching Kobe Bryant back in the day score 60 points in a game—thrilling, to be sure, but maybe an indicator that Shyamalan hasn’t quite learned his lesson.
Ep. 92 – Patriots Day, Live By Night, Silence, Rogue One: A Star Wars Story, San Antonio Symphony Home Alone recap, Lost in London preview, and introducing Cinema on the Rocks!
The CineSnob Podcast returns from hibernation, and the rust is evident. We can’t recommend you listen to this episode, but if you do, you’ll hear reviews of “Patriots Day,” “Live by Night,” “Silence,” and “Rogue One: A Star Wars Story.”
Cody and Jerrod also discuss the San Antonio Symphony’s “Home Alone” show, Woody Harrelson’s live movie “Lost in London,” and our new film series Cinema on the Rocks.
Click here to download the episode!
Starring: Mark Wahlberg, Kevin Bacon, John Goodman
Directed by: Peter Berg (“Lone Survivor,” “Deepwater Horizon”)
Written by: Peter Berg (“Friday Night Lights”) Matt Cook (“Triple 9”) and Joshua Zetumer (“RoboCop”)
Reliving real-life, recent historical events through the eyes of a single character in a film is the hallmark of the docudrama. Think Tom Hanks’ in “Sully” or, well, Tom Hanks in “Captain Phillips.” These two lead characters are portrayed as rather ordinary people thrust into incredible drama, and as an audience we identify with them, we relate to the events through their eyes. So, what if they didn’t exist, made up to heighten the tension, to put the audience in the shoes of someone who was “there” without really being there? In “Patriots Day,” that’s Mark Wahlberg’s put-upon Boston police officer Tommy Saunders, a super cop who has the ear of the commissioner, the FBI, and the governor while also being on scene for every major development in the Boston Marathon bombing, from being at the finish line when the bombs go off to each step of the manhunt for the Tsarnaev brothers. It’s a strange action movie cliché that somewhat mars an otherwise solid and high-tension retelling of the worst act of domestic terrorism (sadly, since eclipsed) since 9/11.
Everyone knows the story: on April 15, 2013, two homemade pressure cooker bombs went off near the finish line of the Boston Marathon, killing three people and injuring more than 260 others. After scouring security footage, two suspects dubbed “white hat” and “black hat” were identified, and the release of the photos sparked the duo, Chechen brothers Tamerlan (Themo Melikidze) and Dzhokhar Tsarnaev (Alex Wolff, all spooky, clueless Millennial disaffectedness), to go on a crime spree on their way to Times Square. In the process they killed an MIT police officer (Jake Picking) while trying to steal his gun and carjacked and kidnapped a Chinese exchange student (Jimmy O. Yang) before engaging in an explosive-fueled shootout with police. Tamerlan is killed in the standoff after being run over by the fleeing Dzhokhar, who became the target of an unprecedented manhunt that shut Boston down and brushed the edge of martial law. He was ultimately located, hiding in a sailboat in a suburban backyard.
If you can look past Wahlberg’s fictional cop who never sleeps, director Peter Berg has put together a fantastic ensemble piece that never loosens the screws, even if along the way it ends up painting law enforcement as maybe a bit too infallible. One scene in particular, featuring Tamerlan’s American wife Katherine (Melissa Benoist) being interrogated—after we’re told explicitly she wasn’t read her Miranda rights—by a mysterious hijab-clad government agent (Khandi Alexander) who questions her commitment to Islam, comes closest to breaking that streak, though. The FBI special agent in charge (Kevin Bacon) and Boston police commissioner (John Goodman) look on in wonder as the extra-legal interrogation takes place, but the feeling we’re left with is this—and the virtual lockdown of Boston—is for the greater good. “Patriots Day” isn’t interested in questioning those ideas, but it could have been a much richer experience had it done so.
Starring: Taraji P. Henson, Octavia Spencer, Janelle Monae
Directed by: Theodore Melfi (“St. Vincent”)
Written by: Theodore Melfi (“St. Vincent”) and Allison Schroeder (debut)
Films based on historical events have a tendency to feel like well-crafted museum exhibits, in that they politely lead you from beginning to end, illuminating certain events along the way without affecting your emotional state too much one way or the other. It’s a perfectly pleasant experience and you learn some stuff, sure, but you can feel yourself being ushered through all points along the way, the velvet ropes mentally brushing up against you as it unfurls. “Hidden Figures,” the true to life tale of three African-American women instrumental in the success of NASA’s early space flight, is a pleasant, heartwarming, and effective enough. These women are inspirational, no doubt, but by the time the film ends, it lacks a resonance strong enough to differentiate itself from the well-trodden genre.
Set in the early days of the space race at NASA’s Langley campus in the 1960s, “Hidden Figures” follows a trio of genius-level black women at a time when two of those three traits were detrimental to a career in literal rocket science. Math savant Katherine Goble (Taraji P. Henson) works with Dorothy Vaughan (Octavia Spencer) and Mary Jackson (Janelle Monae) as “computers” in the colored-only wing at a NASA. When a position opens up to work on the trajectory calculations that will put Americans in space, Goble ends up working under mathematicians Paul Stafford (Jim Parsons) and director Al Harrison (Kevin Costner). The men are initially reluctant to trust Goble’s work (her being a black woman and all), but begin to warm to her after charming, pioneering astronaut John Glenn (Glen Powell) gives Goble’s work his complete and total trust.
Meanwhile, Vaughan verbally spars with by-the-book supervisor Vivian Mitchell (Kirsten Dunst) about advancing her position while secretly learning to work with the mysterious new IBM computer. Also, Jackson is eager to become an engineer, but NASA regulations require engineers to take extension courses at a local school—a school that remains segregated even after federal order. So in order to attend, Jackson must seek a court injunction to even begin to advance her career.
Fine performances abound in “Hidden Figures,” but nothing stands out, except that Spencer and Monae seem to have been shorted in the story department—they feel like footnotes to Henson’s character. Noticeably, however, all of the likable actors—Costner, Parsons and Dunst—in parts that are traditionally more villainous in Civil Rights-era historical films are given relatively bland, inert roles. Maybe it’s all true, sure, but it all feels a little too safe, right down to the climax cribbed from “Apollo 13,” one of the safest movies ever made. There’s never a doubt where “Hidden Figures” is going to splash down.
Starring: Felicity Jones, Diego Luna, Ben Mendelsohn
Directed by: Gareth Edwards (“Godzilla”)
Written by: Chris Weitz (“About A Boy”) and Tony Gilroy (“The Bourne Supremacy”)
Prequel is one of the dirtiest words in the English language to “Star Wars” fans, right up there with midichlorians and Jar Jar Binks. The increasingly negative reception to George Lucas’ prequel trilogy that unspooled from 1999 to 2005 has rendered the word toxic, which is why Disney’s marketing of “Rogue One: A Star Wars Story” has expressly avoided using the word at all—even though the movie is very much a direct prequel to the original “Star Wars” movie from 1977, known now as “A New Hope.”
This is the first live-action “Star Wars” theatrical adventure to deviate from the so-called saga of the Skywalker family being chronicled so far in Episodes I through VII (there was an animated “Clone Wars” film in theaters, as well as a pair of Ewok-centric TV movies in the ’80s and the infamous “Star Wars Holiday Special” from 1978) and represents the opening salvo in Disney’s mission to release a “Star Wars” movie every single year for the rest of all of our lives.
Opening around 15 years BBY (that’s Before the Battle of Yavin—the events of “A New Hope” and the super-geeky way in which the “Star Wars” timeline is sometimes parceled out), “Rogue One” focuses on Galen Erso (Mads Mikkelson), the reluctant brains behind the weapons tech in the Empire’s planet-killing Death Star. He and his family, including daughter Jyn, are in hiding from the Imperial officer heading up the Death Star project, Director Krennic (Ben Mendolsohn). When Krennic tracks them down, he kills Jyn’s mother and captures her father as she flees, taken in by militant Rebel Saw Gerrera (Forest Whitaker).
Fifteen years later, Jyn (Felicity Jones) is busted out of an Imperial prison by the Rebels and given the choice of helping Cassian Andor (Diego Luna) and his droll, reprogrammed Imperial droid 2-KSO (voiced by Alan Tudyk) capture her father back from the Empire to find out how to stop the superweapon. When plans go awry after a test-firing of the Death Star levels a Rebel stronghold, Jyn and Andor must team up with a blind, Force-sensitive monk (Donnie Yen), his heavily-armed sidekick (Wen Jiang) and an Imperial defector (Riz Ahmed) to steal the plans for the Death Star, a monumental event that set in motion the entire franchise nearly 40 years ago.
Burdened with extensive reshoots and the unavoidable fact that we know how it all ends, “Rogue One” represented somewhat of a risk for Disney—albeit a risk that will, worst case scenario, not make quite as much money as “The Force Awakens” did last year and only sell 85% of the toys. Happily, though, the movie ends up killer, with a brutality of war featuring the troops on the ground we’ve never seen in a “Star Wars” film before. The scars of the reshoots show through here and there, though, with Whitaker’s character seemingly suffering the most, relegated to a plot device that goes nowhere—and the same goes for a mystical crystal Jyn wears around her neck. Neither of those, however, are likely to conjure up the negative conversations that one prominently featured CGI character will over his too-many scenes. For the record, I’m not talking about Jar Jar Binks, but a long-dead British actor resurrected to look like a Playstation 4 cutscene character—pretty good, but still off-putting and not quite right. Ultimately, we’re left with a thrilling “Star Wars” movie that dares to be different—for example: no opening crawl, no transitional wipes, and no Jedi—and ends up as a better film than the widely-beloved nostalgia hug that was “The Force Awakens.”
Starring: Jason Bateman, T.J. Miller, Jennifer Aniston
Directed by: Josh Gordon & Will Speck (“Blades of Glory”)
Written by: Justin Malen (debut), Laura Solon (debut) and Dan Mazer (“Brüno”)
Does anyone really like their company Christmas party? Chances are it fails to live up to whatever meager expectations you might have. Hell, there might not even been any alcohol involved, or it might be in the middle of the work day, or one of any number of other little nitpicks might derail it. Or, as is the case with the would-be holiday raunchfest film “Office Christmas Party,” maybe all the right pieces are there, but it still ends up overlong and boring.
As the put-upon CTO of a Chicago-based server manufacturer, Josh Parker (Jason Bateman, ever the frazzled straight-man) is responsible for controlling the wilder impulses of branch general manager Clay Vanstone (T.J. Miller) in order to avoid the wrath of the company CEO—and Clay’s sister—Carol Vanstone (Jennifer Aniston). When Carol threatens layoffs just before the holidays and cancels the planned (and notoriously lame) office Christmas party, Josh, Clay and computer whiz Tracey (Olivia Munn) use their wooing of a wealthy new client (Courtney B. Vance) as an excuse to throw a booze-filled blowout in an effort to land his business, which is desperately needed to save the branch.
Joining Bateman, Miller, Aniston and Munn are loads of other very funny people, like Rob Corddry, Kate McKinnon, Vanessa Bayer, Randall Park, Jillian Bell—but no one ever gets a chance to run away with the movie (seriously, why are Miller’s and Bateman’s characters not combined into one?) and nothing ever really comes together. Directors Josh Gordon and Will Speck try to keep it appropriately dirty, throwing in plenty of cussing, a fair share of breasts and even one penis, but none of it ever feels especially randy, you know? The overstuffed plot and forced sentimentality undermine any bite the film strives to have, and by the time the party mentioned in the title gets underway—about 45 minutes into an hour and 45-minute runtime—boredom sets in. You know, like a real office Christmas party.