Tag Archives: Brian Tyree Henry

Godzilla vs. Kong

If nothing else, Legendary Entertainment and Warner Bros. Pictures have been surprisingly persistent in trying to make their MonsterVerse into a successful franchise. This is the fourth film they’ve released since 2014’s Godzilla reboot, and as the title boldly announces, this is the one where the new version of Godzilla meets the new version of King Kong. Of course, by “meets”, I mean “fights to the death in the middle of a bunch of skyscrapers”.

Like the previous films in the MonsterVerse, Godzilla vs. Kong is exactly as advertised. It is essentially plot-free, because that would get mean less time for the monsters to try to murder each other. And monster fights are why this film exists. In between fights there is a small amount of filler in the form of serious science-talk about the origins of these monsters and the “hollow earth”, but feel free to ignore it as I did. Because all the science-talk in the world won’t explain why these giant monsters are saving the environment through killing each other, or why the hollow earth is as bright as day when it is literally the centre of the earth. And the next monster fight is just around the corner anyway.

No one will ever mistake Godzilla vs. Kong for a good movie, but it is a movie that you have to respect if only for its self-confidence. This movie is just so damn sure of itself. So damn sure that you have paid to see monster fights and so damn sure that you do not care about plot or character development or anything else that a normal movie contains. And at least in my case, it was right. I did not miss that other stuff one bit. If you have read this far and still want to see this movie, it will not disappoint. Just pick your favourite monster, sit back, and enjoy the show!

Don’t Let Go

Jack Radcliff (David Oyelowo) is a detective who’s about to stumble upon the biggest case of his career and you’re not going to believe how he solves it.

A simple visit to his brother’s home reveals 3 corpses – those of his brutally murdered brother, his brother’s wife, and his brother’s daughter. The house is soaked with blood and reeks of violence, but what happened here, and how did things get this bad without Jack noticing? He’s racked with grief and guilt, utterly devastated to have failed the only family he had, and feeling acutely alone in the world when he gets a call from his niece, Ashley (Storm Reid). His dead niece Ashley, the one who was just murdered along with her parents. Ashley and uncle Jack have always been close, but this is ridiculous. Is it a ghost, a rip in time…or is Jack just losing his mind? You’ll have your theories, and the cops at Jack’s station will have theirs as well. What to do with a detective who won’t let go of his own brother’s case, who’s working something with a conflict of interest so big and so bold that no one knows how to tell him to stop? Crazy or not, Jack’s determined to work with the evidence he has, even if it’s coming from a dead girl – but is he trying to solve a crime, or stop it from happening in the first place?

Obviously you’re going to have to deal with a certain paranormal aspect to this film that doesn’t make much straight-up sense. Before you stream, ask yourself this: can I let go? Can you deal with something non-linear and non-logical? If not, there’s no shame in just walking away. There are other movies for you. But if you think you might be interested in a detective with a ghost sidekick and a magic smart phone that receives calls from the dead, then the good news is, Don’t Let Go‘s on Netflix, where you can give it a try, risk-free. If you can let go, this movie is not half bad. It’s not great, it’s a bit uneven and writer-director Jacob Aaron Estes doesn’t have the technical prowess to shoot it in a more interesting way, but the cast, including Brian Tyree Henry, Alfred Molina, and Mykelti Williamson, is talented, and they sell the mystery, the urgency, and the thrill. The big, philosophical questions remain unanswered – this is a murder mystery at its heart, not science fiction, but it does manage to combine different genres into an enjoyable and compelling watch.

Spider-Man: Into the Spider-Verse

What’s better than Spider-Man? TWO Spider-Mans (or is it Spider-Men?)!  Either way, take that thinking to its conclusion, like Lego Movie co-writer Phil Lord did, and you end up with Spider-Man: Into the Spider-Verse, a cinematic universe to end all cinematic universes.

MV5BMjA0MTgwNTM5MV5BMl5BanBnXkFtZTgwOTgyODI4NjM_._V1_SX1777_CR0_0_1777_744_AL_.0Spider-Man (Jake Johnson) has hit a bit of a rough patch in middle age, as has teenager Miles Morales, who just got bitten by a radioactive spider and is going through some changes as a result on top of struggling with fitting in a his new school. Right after being bitten by that pesky spider, Miles stumbles into a science lab where another Spider-Man (Chris Pine) is trying to stop the Kingpin (Liev Schreiber) from opening a dimensional portal.  During the battle, Kingpin kills that Spidey but not before the first Spider-Man, the middle-aged one, is sucked through the portal that the Kingpin’s machine created.

Confused? You should be, but the most amazing thing about Spider-Man: Into the Spider-Verse is that this jumble of Spider-Mans (Men?) makes perfect sense on-screen. And that’s a compliment in two ways. First, because there is so much happening in this movie that it has no right to make sense, and second, because there are a whole lot of other amazing things about this movie.

Spider-Verse’s animation, particularly the art style, is stunning. A number of other superhero films have taken inspiration from the comics, whether in using captions,  multiple panels, or bright colours.  Spider-Verse takes that to a whole other glorious level, owning its comic book roots and jumping off the screen even in classic 2D.

Spider-Verse is also remarkably accessible. This is not a solo superhero film with only two or three familiar  characters to track. Spider-Verse is chock full of obscure one-offs, alternate takes that faded away, including an entire “Ultimate” comic book line that was canned by Marvel in 2015 due to lack of interest. All of that can sit comfortably in the background but no prior knowledge of anything is necessary, even of Spider-Man, to understand and enjoy this film.

 

 

 

Hotel Artemis

Picture it: Los Angeles, 2018. The city is in its third day of violent riots. The people are demanding access to clean water. The power is flickering, a curfew is in effect, rich people are sending servants to deposit “lootable” goods at the bank. Which means there’s all the more for a bank robber (Sterling K. Brown) with an entrepreneurial spirit to steal. Unfortunately he and his gang of merry men escape with both bullet wounds and an accidental $18M in diamonds that ruthless mob boss Wolf King (Jeff Goldblum) is definitely going to come searching for.

But first things first: with his own brother bleeding in his arms, our intrepid bank robber checks in at the Hotel Artemis, a “dark room”, or a high-security, members-only hospital for the criminal underground. I believe they’ve ripped this idea directly from the John Wick movies, but it’s a good one. There, the doctor, who is called Nurse (Jodie Foster) is guided by a very strict set of rules:

1. While on the premises, no fighting with or killing other patients.

2. No disrespectful words or actions allowed against Hotel Artemis staff.

3. No guns or any type of weapon permitted through the gates.

4. Membership must be paid for, full and in advance.

5. Prior but lapsed members will not be admitted

6. No photography or video allowed.

7. No outside food or drink.

8. Absolutely no visitors.

9. If member is found to have compromised, or led to compromise of location, membership will be revoked.

10. Hotel Artemis rules are final and non-negotiable.

Tonight, with both the police, the rioters, and the Wolf King’s men bearing down on them, the brimming with injured criminals, no-vacancy hospital will come under siege, its only protector a dedicated health care practitioner named Everest (Dave Bautista), and every one of these rules will be broken.

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With such a potent premise and an A-list cast, Sean was curious as to why he was only hearing about this now. Usually, there’s only one answer: it’s no good. But actually, it’s not bad. Maybe not good, but it depends what you’re looking for. At times it reminded of Ben Wheatley’s High-Rise with all these people stuck in a building that’s starting to resemble hell. But Hotel Artemis has more modest ambitions, and if you start to get an inkling of an allegory, well, it’ll be dashed soon enough so don’t expend too much brain power on it. Sit back and enjoy the villainous Jeff Goldblum (which is THE BEST Jeff Goldblum, isn’t it?) and the kick-ass Sofia Boutella and Jodie Foster in an actual role, an actual meaty, outside-the-box role (her first since Elysium!). Of course, the downside to a cast like this is that we don’t spend oodles of time with any of them (the movie has a trim 94 minute run-time) but when Bautista calmly unclips his hospital badge from its prominent breast-pocket display and pockets it, oh hell, you know you’re in for some fireworks and it doesn’t matter if we’ve gotten to know all the players because they’re about to become hunks of meat only suitable for stewing.

So maybe it’s disposable. Fuck it. You’re not watching for the depth of the satire, are you? No, you’re watching it because someone’s about to get PAPER-JAMMED TO DEATH (wait for it) and goddamn if you can’t look away from that.