Tag Archives: Michelle Monaghan

The Craft: Legacy

If you were a teenager in the 1990s, you probably remember The Craft. It’s a pretty good 90s time capsule, particularly its alt-rock soundtrack that Columbia House was eager to send to you for free*, and also Skeet Ulrich. The Craft did not go out of its way to set up a sequel, which in hindsight is also a characteristic of a bygone era.

These days, everything is open for a sequel, or better yet, a franchise. And Hollywood is retroactively franchising lots of films that seemed like one-offs. Now it’s The Craft’s turn to get sequelized, and possibly franchised(-ized?). That’s a very 2020 approach, especially since due to COVID-19 The Craft: Legacy has gone straight to VOD as a premium rental.

Lourdes (Zoey Luna), Frankie (Gideon Adlon) and Tabby (Lovie Simone) are teen girls who want to be witches. But their attempts are not going well, because as the original film established you always need four witches before things get crazy. Enter Lily (Cailee Spaeny), the new girl in town, who has a really awful first day of school but as a result catches the eye of the witch trio, and once they get together the magic starts to happen.

Speaking of 90s relics, David Duchovny is in this movie as Lily’s mom’s fiance, which is why Lily and her mom (Michelle Monaghan) have moved to this little west coast town, and which I have the feeling is the same town as in the first film. Do those little details matter? They might, in the next instalment!

I expected this movie to be really, really awful, and it’s actually quite fun. A big reason why it’s fun is the way the witches use their powers. They didn’t use their powers to ruin people’s lives or to seek revenge. That bad girl trope is consistent with the longstanding narrative that powerful women are to be feared, but it’s beyond time we got rid of it and let women be superheroes, and that’s exactly what The Craft: Legacy does. After all, there was no doubt that when Peter Parker got magical powers, he was going to use them for good, and this film lets its heroes do the same. The fact that outcome seems unusual or worth mentioning shows the inequality at play, and in that respect as much as anything, The Craft: Legacy shows both how far we have come since the 1996 original, and how far we have to go.

It also happens to be an entertaining film where girls get cool powers and fight bad guys, so it’s win-win.

Saint Judy

Judy Wood (Michelle Monaghan) and her young son Alex drive to California to start a new life. He’ll get to live near and have more time with his dad, and she’ll get to restart her career as an immigration lawyer. Not exactly what she had planned, but not exactly a choice, either.

She was a very successful public defender in her previous life, but it turns out you don’t need a lot of qualifications to be an immigration attorney because the clients are in no position to complain. They get what they get. Lucky for them, Judy Wood is a tireless crusader.

But she still has the capacity to be shocked by what she finds: people who have been held in custody for months or years, drugged for their own “protection,” the burden of proof on the detainees because, since they are not accused of crimes, they do not enjoy the protections afforded the common criminal. They are guilty until proven innocent – and with overworked, underpaid, unqualified lawyers, that’s a pretty dodgy concept.

Director Sean Hanish makes no bones about sainting his subject – it’s right there in the title. So basically we get to just sit back and watch this woman (based on a real-life woman) work up a steam of righteous anger all the way to making actual changes in the American law of asylum to actually save women’s lives.

Lawyers are often depicted as sleazy scumbags in Hollywood, and there are enough real-life counterparts that it’s hard to really object. But for every piece of shit in The Laundromat, there’s also a warrior in Just Mercy. Mercenary lawyers give everyone a bad name, but changes in law come from lawyers who care and are exceptional in their work. I don’t know Judy Wood but I bet she’s not actually a saint. Good news: you don’t have to be a saint to make a difference. Judy did it through hard work, compassion, and belief. And though I think this movie is needlessly formulaic and one-sided, if it serves to inspire a young woman to go to law school and believe that she too can be the change she wants to see in the system, then that’s a great thing.

Playing It Cool

I’ve been on a bit of a kick lately to see what Chris Evans does when he’s not Captain America – particularly since he’s super not Captain America anymore. I think I only really know him from Snowpiercer, which is one of the best movies ever made, so it’s a solid credit, I’ll give him that. But it seems our most civic-minded super hero is super selective when it comes to the roles he takes, which doesn’t necessarily shake out to him choosing only the best. Since Snowpiercer (2013), he’s only been in three non-Marvel films. So yeah, it makes sense that you might want to retreat from that universe, for your own sanity and such (although caveat: his buddy Falcon is along for the ride). 2014 saw the release of both this film, and Before We Go and then there was 2017’s Gifted, which I never saw because Matt called Evans’ performance ‘bland’ and the film “sentimental.’ So when he’s not chasing down bad guys, he’s either drawn to the syrupy stuff, or he’s stuck with it. I know in recent months, as he did the Endgame press tour, he mentioned wanting/needing time off. As the only bachelor Avenger, he was feeling lonely, and wanting to devote time to finding love and starting a family. Which doesn’t mean he’ll be absent from the big screen. At least not for a while. He’s slated to appear in Rian Johnson’s Knives Out later this year, The Red Sea Diving Resort, also intended for release later this year, a limited TV series opposite Michelle Dockery called Defending Jacob, a starring role in Antoine Fuqua’s Infinite next year, and eventually appearing in a film as the only living descendant of Dr. Jekyll and Mr. Hyde. And then: love and babies!

For now: Playing It Cool.

We only know him as “Me,” a screenwriter recently commissioned to write a rom-com. Only problem: he’s never been in love, doesn’t really believe in it. So he and his best friend, also a writer, Scott (Topher Grace) hit the town for “research” which is when it hits him: love. Or, you know, infatuation. With a woman who seems entirely to good to be true, and she is, because she’s already engaged. To someone else, obviously.

But the memory of having met The Perfect Woman haunts him, and blocks him creatively, so instead of writing, he investigates, telling himself he only wants to know her name. ‘Her’ as we know her (Michelle Monaghan), remains elusive, but along the way his inner writer lets loose and he tells a lot of stories, testing himself out as the leading man to see if any of them feel plausible. When he finally finds Her, they try being “just friends,” which means he spends an uncomfortable amount of time begging for sex, despite her still being attached. But he cares about Her, y’all! Does that make it better or worse?

This rom-com swears off all the rom-com tropes. But can it really resist? Actually, some of the language is already quite dated, and those things tend to niggle at me. Like, overt and dirty sexism for no reason. Not that there IS a reason. You know what I mean. But aside from that, what we need from rom-coms is a small dose of sweetness, a big dose of laughs, and just enough wink-wink, we’re-in-on-the-joke to make it all go down smoothly, like a milkshake. You know it’s bad for you, it’s entirely too sweet, but sometimes, you just can’t resist. Playing It Cool wants to be a milkshake but it’s not even a rootbeer float. It’s more like that flat gingerale your mother used to make you for a sore tummy. Evans and Monaghan are effortless together, but the script is totally devoid of character. It’s cool to reject the usual cliches, it’s even welcome, but you have to replace them with something. That’s where the writing part of writing a script comes in. Playing It Cool plays it a little too cool.

Mission: Impossible -Fallout

lead_720_405Aside from the awkward colon in the title, the most annoying thing about the Mission: Impossible series has always been Tom Cruise’s massive over-reliance on rubber masks (yes, even moreso than his ridiculous excessive arm-pumping while running). While Mission: Impossible – Fallout doesn’t totally avoid the rubber mask cliché, it tweaks it enough to feel fresh. And every once in a while, despite how familiar the M:I formula has become after six attempts, the movie will sneak one by you, winking as it does.

In Mission: Impossible – Fallout, Ethan Hunt (Tom Cruise) and his team (Ving Rhames and Simon Pegg) are tasked with saving the world (again) by recovering a bunch of stolen plutonium before a terrorist group can use it in nuclear weapons. The stakes are high so Ethan and his crew need to be at the top of their game, and doubly so when we’ve seen them in action so many times already.

M:I-F is up to the challenge in all respects. This is the best entry in the franchise so far. Not because it does anything surprising or anything we haven’t seen before, but because it delivers exactly what it promises and because it’s flawlessly executed, without a single misstep.

Action-packed and entertaining from start to finish, M:I-F is better than I expected, better than it has any right to be, and better than it ever needed to be.  This is 2018’s best summer blockbuster, hands down.