Tag Archives: Tessa Thompson

The Avengers Have Day Jobs

When The Avengers aren’t fighting crime on screen, they’re often teaming up to do other movies. Here, a totally non-exhaustive list, so feel free to contribute your own in the comments.

Zodiac: Bruce Banner (Mark Ruffalo) and Tony Stark (RDJ) hunt a serial killer, with future Spider-man villain Mysterio (Jake Gyllenhaal). Tsk tsk.

Wind River: Hawkeye (Jeremy Renner) and Scarlet Witch (Elizabeth Oslen) risk frostbite in this thriller.

I Saw The Light: Loki (Tom Hiddleston) and Scarlet Witch (Elizabeth Olsen) get their
cowboy boots on in this country-western send-up to Hank Williams.

Infinitely Polar Bear: I totally recommend this film about how a bipolar diagnosis affects a family, starring The Hulk (Mark Ruffalo) and Gamora (Zoe Saldana).giphy

Men In Black 4: This one is not technically out yet, but could we be more excited to see a movie starring Thor (Chris Hemsworth) and Valkyrie (Tessa Thompson)???

Her: This is a super cerebral movie about a man falling in love with the voice of an operating system (Scarlett Johansson) – look carefully and you’ll also see Star-Lord himself (Chris Pratt).

Sunshine: Danny Boyle assembles a team of astronauts to save the dying sun, among them Captain America (Chris Evans), Guardians Vol. 2’s Aleta Ogord (Michelle Yeoh), Endgame’s Akihiko (Hiroyuki Sanada), and Doctor’s Strange’s right hand man, Wong (Benedict Wong).

American Hustle: David O. Russell recruits the voice of Rocket Raccoon (Bradley Cooper), Hawkeye (Jeremy Renner), and Ant-Man’s best pal Luis (Michael Pena).

Traffic: This is a really interesting and complicated movie about the war on drugs, by Steven Soderbergh, and just wait til you hear how it criss-crosses the MCU: Hank Pym (Michael Douglas) and The Collector (Benicio Del Toro) star, with War Machine
(Don Cheadle) making an appearance also. Bonus level: Miguel Ferrer, Iron Man 3’s Vice President Rodriguez.

Chef: Beloved Happy Hogan (Jon Favreau) plays the eponymous Chef, and is joined onscreen by pals Ironman (Downey Jr.), Black Widow (Scarlett Johansson), and Antman’s daughter’s stepdad, Paxton (Bobby Cannavale).

Creed: Killmonger (Michael B. Jordan) met his fate in Black Panther, but Valkyrie (Tessa Thompson) gets to snuggle up in Creed.

sourceSherlock Holmes (TV): Although they never teamed up in the MCU, Doctor Strange (Benedict Cumberbatch) teams up with Everett Ross (Martin Freeman) is this addictive detective series.

Sherlock Holmes (movie): On film, Sherlock is played by none other than Ironman (Robert Downey Jr.), and his faithful Watson by evil Kree Yon-Rogg (Jude Law). What an odd pairing!

Unicorn Store: Captain Marvel (Brie Larson) and Nick Fury (Samuel L. Jackson) are reunited and it feels so good. And this time they’re getting a unicorn! Yes, a real one. Jackson’s wardrobe is cotton candy for the soul, complete with tinsel-weaved wigs. Must see, currently streaming on Netflix.

Marshall: Black Panther himself (Chadwick Boseman) plays Thurgood Marshall alongside N’jobu, Killmonger’s slain father from the same film (Sterling K. Brown).

Scott Pilgrim Vs. The World: Captain Marvel (Brie Larson) and Captain America tumblr_nb04u6MGrq1te1cwfo2_500(Chris Evans) use their powers for evil instead of good – Larson playing rock star Envy Adams, Scott’s ex-girlfriend, and Evans playing action star Lucas Lee, one of Ramona’s seven evil exes. This is a fun one to re-visit, as it is written and directed by Edgar Wright, who also wrote the screenplay to Ant-Man.

Wonder Boys: Hank Pym (Michael Douglas) and Ironman (Downey Jr.) make an uneasy alliance in this Michael Chabon adaptation.

13 Going On 30: The Hulk (Mark Ruffalo) was surprised to learn that Captain Marvel (Larson) makes an appearance in this film as a mean girl in high school!

In the Heart of the Sea: Thor (Chris Hemsworth) takes Spidey (Tom Holland) under his wing in this Moby Dick retelling.

Isle of Dogs: Black Widow (Scarlett Johansson) gets her voice on in this Wes Anderson animated film, alongside GrandMaster Flash (Jeff Goldblum) and The Ancient One (Tilda Swinton).

The MCU is super incestuous. I bet you can think of many more!

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Creed II

Since Ryan Coogler was busy making Black Panther, Sylvester Stallone took back the writing responsibilities (with Juel Taylor) for the eighth instalment of the Rocky franchise. As a result, Creed II is as much a continuation of 1985’s Rocky IV as a sequel to 2015’s stellar Creed and as much Rocky’s story as Adonis Creed’s.

In Creed II, Adonis Creed (Michael B. Jordan) has won six bouts in a row and is about to fight Danny “Stuntman” Wheeler for the world title.  Creed wins the fight and then, shortly after, proposes to his girlfriend Bianca (Tessa Thompson), and she says yes!  At that point, Creed should be on top of the world but he’s about to learn that creed_iithe championship belt is heavier than it looks, because he’s now the target of a bunch of wanna-be champs, including a Russian whose father killed Creed’s dad in Rocky IV. Creed will need Rocky’s help to beat the younger Drago, who so far has brutally beaten every boxer he’s gone up against.

Rocky’s part in this story is an important one.  In fact, several pivotal events that happen to Creed are shown from Rocky’s point of view, suggesting this is Rocky’s franchise again. Which makes sense when Rocky himself is writing the story.

Is that a bad thing? Kind of, which is hard for me to say  as a fan of the Rocky franchise. There’s something magical about the super cheesy and entirely predictable Rocky lovefests from Rocky II through to Rocky Balboa (Rocky is excluded because being the original, it is only predictable in retrospect). And Creed II captures that same magic at all the right moments. It’s a solid addition to this four-decade-old franchise.

But it’s a step back from Creed and that regression is further proof of Ryan Coogler’s genius (as if we needed any). With the first Creed, Coogler took the Rocky franchise in a new direction and included a ton of callbacks that riffed on the original formula without feeling derivative.

Unfortunately, Creed II doesn’t ever get to that same level because it is content to recycle the tried and true Rocky formula: a win at the outset, followed by a setback at an opponent’s hands, and then after a super-sweet training montage, a well-earned victory over that same opponent. Creed II executes that formula as well as any of the Rocky-titled films, but it never separates itself from that pack.  Rocky fans will leave Creed II satisfied, but fans of Creed may be in for a bit of a letdown.

Furlough

It’s a bad time for corrections officer Nicole Stevens (Tessa Thompson) to get away. It’s always a bad time. She lives with her mother (Whoopi Goldberg) and cares for her round the clock when she’s not at work. But go away she must. A prisoner’s mother is dying and Joan (Melissa Leo) has a 36 hour death bed visitation furlough coming – supervised by poor, beleaguered Officer Stevens.

C.O. Stevens is distracted, and Joan is a master manipulator, determined to squeeze every MV5BZmJhOGNiZWMtNmVhYi00YmJhLTkzMzEtZDEwNjRjMDg4NjcwXkEyXkFqcGdeQXVyMTMxODk2OTU@._V1_SY1000_SX675_AL_last drop out of this respite. The trains and buses upon which they rely are predictably unpredictable, and Stevens is just a little too trusting, a little too good-hearted. Joan does not have this problem.

You watch this movie with dread, knowing something is going to happen, something bad, and you almost don’t want it to. Despite Joan’s self-centered assholeness, you kind of buy into this ultimate odd-couple road trip. It will be sad to see it end.

Tessa Thompson is all kinds of wonderful. She’s overwhelmed by the assignment but too dutiful to refuse. She’s a caretaker who wants to see the best in everyone. Joan has lived a hard life, the details of which are only hinted at. We don’t know how long she’s been locked up, but she sucks in fresh air like it’s in limited supply, so I believe it has been a while. She’s shifty and nervy and she pushes Stevens’ buttons. She pushes MY buttons. And yet Leo gives her just enough charm that we can’t quite write her off. Whoopi has a smallish role but it’s kind of great to see her on screen.

Director Laurie Collyer knows she’s got us hooked based on the cast alone, and the movie doesn’t quite live up to its promise. It feels slight. It does a gender flip and a race flip but still winds up feeling less than 48 Hrs. Leo isn’t really up for the over-the-top comedy, and the movie fails to shift gears to accommodate dramatic moments. It’s a good try that doesn’t quite pan out. For me, it’s totally worth it to bask in Thompson’s radiance for an hour and a half, and since it’s on Netflix, there’s not much to lose.

Sorry To Bother You

Well.

I hardly know how to talk about a movie like this.

It’s radical.

Ostensibly it’s about “telemarketing” but that’s like saying Toy Story is about single parenting. It’s really about racism and assimilation and wage slavery and identity – by way of telemarketing, at least to start.

Cassius Green (Lakeith Stanfield) is thrilled to get a shitty telemarketing job, working for commission. There’s almost no way to actually succeed doing this kind of work, but Cassius stumbles upon the secret, magic key: a white voice. A persuasive, approachable, overconfident voice, like Tobias Funke’s, perhaps. Using this voice, Cassius shoots straight to the top, rocketing past his buddies and even his girlfriend Detroit (Tessa MV5BMzNjZTZlZmYtODU0ZS00NzFkLTkyZGEtOTI5M2Q0YTZmNzg3XkEyXkFqcGdeQXVyNDg2MjUxNjM@._V1_SY1000_SX1500_AL_Thompson) who are trying to organize a union that will help the little guys make a living wage too.

On top, Cassius is of course hypnotized by the wealth and privilege, but now that he’s rubbing elbows with “the man”, he’s finding it’s a little different than he’d imagined. “The man” is of course Armie Hammer, like you ever fucking doubted it. Hammer was literally born to be typecast as a slave owner – his great-grandfather was a legit oil tycoon and philanthropist, and the family is worth somewhere in the neighbourhood of $200M. So yeah, he’s got owning slaves in his blood, and we can all read it in his cheekbones. In Sorry To Bother You, he plays a CEO who is “saving the world” by enslaving all the poor people and making them thank him for it. Signing a contract, they agree to work wage-free for him forever in exchange for housing (which looks surprisingly like prison cells minus the bars but with double the roommates) and food.

And everything is just gently pushing you. Pushing your boundaries, almost imperceptibly. In the beginning, things are near normal but they escalate, asking us to accept just one more inch of absurdity. It is THE best kind of satire, uncompromising but plenty challenging.

First-time writer-director Boots Riley has made a film that is gutsy and experimental. It feels like this is a guy who isn’t sure he’ll ever get to do this again, so he’s not leaving a single idea on the table. He takes huge risks and when they pay off, hot damn. Sorry To Bother you zigs and zags in unexpected places but the super talented cast helps this thing stay grounded. Riley is full of piss and vinegar and a comic outrage that’s infection. This is bold stuff, exciting to watch, fearless, outrageous, and I want more. Not for the faint of heart.

Annihilation

Kane’s been missing for a year when he suddenly turns up at the home he shares with his wife, Lena, hemorrhaging blood. He’s been deployed on a top-secret mission that Lena can’t fully understand even as she’s recruited to join the next one. Of the dozens of men deployed, Kane is the only one to return, and he’s just waiting to die of organ failure.

Three years ago, something mysterious happened to a nearby lighthouse, which has been enveloped in a “shimmer”, a danger zone inside which terrible things are happening and from which no one returns. The zone is growing daily, and their own city will be overtaken if they don’t figure it out soon. So Lena (Natalie Portman) joins the next mission, the first one to be all-female, an expert biologist but also just a wife wondering why her husband would sign up for a suicide mission. She joins a group of women (Jennifer Jason Leigh, Gina Rodriguez, Tessa Thompson, Tuva Novotny) highly trained but with nothing to lose as they enter what is likely to be their last mission.

63a7237ca43826d1507503b739fc4d55Inside, every living thing has been transformed. Mutations have made some things astonishingly beautiful, and other things the stuff of nightmares (imagine an alligator-shark hybrid). And now those things are also taking on human DNA.

Director Alex Garland took on human uniqueness in Ex Machina and further explores the subject here. When they are reflected back on us in other living things, which of our traits make us truly special, truly human? It’s a scary question. Garland continues to excel in the creepy, quiet moments between the splashier, gorier stuff. His style throws us off-kilter even as the visuals delight. The audience is continuously confronted with questions to chew on while scary monsters breathe down our goose-pimpled necks. Alex Garland is clearly a talented sci-fi film maker, and even if you leave the theatre confused, you won’t be able to let it go.

For fans of the novel, by Jeff VanderMeer, don’t go in too attached. Garland chose not to re-read the book before embarking upon the script, so the movie turns out more a distant cousin of the book rather than a faithful adaptation. In fact, the details I remembered most from the book were absent; clearly Garland and I latched on to different themes. But the essence remains, the terror remains, the curiosity remains. Annihilation doesn’t exist just to scare you, it wants to challenge you. This is a bold film that doesn’t fit inside any comfortable Hollywood mold. The studio is crapping its pants because it think the movie’s too “cerebral” for us folk. But you know what? Embracing the unknown can be freeing. And exploring these concepts with women as our protagonists, free from macho bullshit, allow us to also experience these things for their beauty and their terror at the same time. Portman’s character is remote, unreachable. Rather, Thompson and Rodriguez provide the most emotional heft as their characters contemplate the most gorgeous and familiar of mysteries.

I left this movie shaken.

War On Everyone

Two buddy detectives (Michael Pena, Alexander Skarsgard) are corrupt as hell and enjoy bashing skulls together as they extort the hell out of any vague criminal sort that crosses paths with them. But that’s a really good way to meet some really bad people, and eventually, they do.

woe_firstlook-2-1024x716It takes all of 4 minutes to realize that this movie is not going to live up to even modified expectations. The dialogue is surprisingly bad, perhaps because writer-director John Michael McDonagh, capable of Calvary, is instead treating this like he’s writing on spec for straight-to-Netflix Adam Sandler.

The good news is that both Pena and Skarsgard look pretty darn good in three piece suits. The fault is not with them – I don’t think anyone could survive this kind of sloppy writing. I think I see what McDonagh is aiming for: salty, quippy, something like Apatow meets Tarantino. Not only does it fail to live up to either of those names, it’s forgettable even as you’re watching it. It may as well never have been made. And it never justifies itself. 97 minutes later, I still can’t even account for the 70s porn music that unironically accompanied random car chase scenes, and I definitely can’t decide which of the villains is most laughable. I guess you might find it passably enjoyable if you’re in the right mood, but I am decidedly not. This shit just feels tone deaf.

 

 

 

 

 

 

Dear White People

dearwhitepeople2This movie tackles race in the microcosm of an ivy league college. The film focuses on four black characters as they live and learn on a predominantly white campus. One of them, Sam, uses her radio show to point out the racist sins of her fellow students – “Dear white people: The minimum requirement of black friends needed to not seem racist has just been raised to two. Sorry, but your weed man Tyrone does not count.”

It is by no means a perfect movie but it does spark a very important conversation, and you may have noticed by now that one of my barometers for a “good” movie is one that provokes a discussion.  The film fearlessly points out the prejudice not just of the white students, but of the black students even toward each other. It’s a real meditation on what racism means in American in 2014 and culminates in a big party where white kids are encouraged to “liberate their inner Negro” and boy do they. This is satire and not satire because of course these events have actually taken place on many real campuses, not 50 years ago, but maybe 50 days ago.

Recently, Benedict Cumberbatch has had to apologize for using the term “coloured” in an dearwhitepeopleinterview. He immediately took responsibility for his mistake, but this too has opened up the debate. What he actually said was: “I think as far as coloured actors go, it gets really different in the UK, and a lot of my friends have had more opportunities here [in America] than in the UK, and that’s something that needs to change.” His terminology is outdated and offensive, at least to some. But it also highlights the fact that we still, as a society, don’t know the right answer here – because Cumberbatch wasn’t meaning to offend. Dear White People uses the term “coloured”  a couple of times, actually, and that may add to our confusion.

At the end of the day, Cumberbatch’s assessment IS correct: Idris Elba, Thandie Newton, David Oyelowo, and Chiwetel Ejiofor have all had more success in the American market. David Oyelowo in particular has just this year appeared in Interstellar, Selma, and A Most Violent Year. The small part he played in Interstellar was not a “black” part, and that’s a step in the right direction. Now we just need about 100 more steps, because the #OscarsSoWhite problem doesn’t start at the Oscars, it ends there (note: Cumberbatch is nominated for best actor for his work in The Imitation Game while Oyelowo was overlooked for his brilliant performance in Selma). The problem begins on casting couches. There isn’t enough diversity on any screen (big or small) and David Oyelowo, coming to Cumberbatch’s defense, said that there was “absolutely” an issue with diversity within the film industry, which Cumberbatch was decrying. And while language is definitely something we should continue to re-evaluate, it’s only one part of the bigger picture. That’s why films like Dear White People are so important, and why Hollywood serves as a scapegoat for society. This stuff  still makes us uncomfortable. We don’t always know how to talk about it. But I hope that at the very least, we can all agree that we must keep talking. And it proves why movies like Dear White People have value: as a white person, I want very much to be an ally, but clearly our good intentions need to be steered. I don’t know what the answers are, but this movie helped ignite conversation, and it’s clear that white people need to shut up and do some serious listening.