Captain Marvel

CAPTAIN MARVEL
2019 | Dir. Anna Boden and Ryan Fleck | 124 Minutes

"I've been fighting with one arm tied behind my back, but what happens when I'm finally set free?"

While pursuing a group of shape-shifting enemy combatants, Vers, an interstellar warrior with the ability to channel limitless energy crash lands on Earth. After befriending awestruck SHIELD Agent Nick Fury, she discovers the truth about her past as US Air Force pilot Carol Danvers and the source of her extraordinary powers. With her newfound knowledge, Danvers changes the course of an intergalactic war.

Though Captain Marvel is essentially a superhero origin story, filmmakers Anna Boden and Ryan Fleck mostly forego standard pacing and narrative structure as the feature opens in the midst of a war between two alien races, providing limited exposition to the audience and presenting the Danvers' backstory in disjointed fragments. The beginning of her adventure on Earth is entertaining but slightly meandering as Danvers chases vague leads with an unclear connection to both her enemies and her past. However, by the midway point of the film, when the real stakes are revealed, the story rewardingly comes into razor-sharp focus, running parallel to Danvers' journey in rediscovering her genuine memories, regaining her sense of identity, and truly realizing her potential that had always been actively suppressed by others.

Captain Marvel primarily takes place on Earth in 1995, and Boden and Fleck use the period setting well enough, dressing the production with fun, only occasionally distracting nostalgic details by way of decade-specific background props - my favorite is naturally a Street Fighter II: Champion Edition arcade cabinet sitting in a bar, sound effects - Nintendo Game Boy and dial-up modem beeps and bloops, and choice needle drops - most notably No Doubt's "Just A Girl" in a key fight scene and Hole's "Celebrity Skin" to close out of the film. Though the sight of Carol Danvers radiating with cosmic energy is magnificently glorious, the most impressive visual effect is the miraculous digital de-aging of iconic veteran actor Samuel L. Jackson, somehow so natural that it never becomes jarring.

Perfectly cast in the lead role, Brie Larson exudes playful humor and unflappable confidence as Carol Danvers, imbuing the title character with unique charm and charisma. Samuel L. Jackson reprises the role of Nick Fury with an entirely fresh approach, presenting a previously unseen, less jaded side of the SHIELD agent that can still be surprised and impressed by the mysteries of the universe. The dynamic between Laron's cool and composed Danvers and Jackson's constantly astounded Fury lifts the film, leaning into buddy cop action comedy tropes in the best way possible. The heart of the story is the unbreakable friendship betweeb Danvers and fellow Air Force pilot Maria Rambeau played by Lashana Lynch, and the love they share with Rambeau's doting daughter Monica portrayed adorably by eleven-year-old actress Akira Akbar. Lynch and Akbar do an excellent job of providing emotional weight and authenticity to Danvers' journey. Lynch is particularly convincing in conveying the initial confusion and heartbreak upon Danvers' unexpected return to Earth after being told by the military for over half a decade that her friend had perished in a failed test flight.

Film villain extraordinaire Ben Mendelsohn is surprisingly hilarious as the Skrull commander Talos, delightfully fleshing out the role especially during the back half of the story as the character takes a unexpected turn. Conversely, Jude Law plays no-nonsense Kree Starforce leader Yon-Rogg with a stoicism that is appropriately frustrating. In a dual role, Annette Bening shows of her versatility playing both the Kree Empire's computerized leader (as it appears to Danvers) and Danvers' inspirational mentor Dr. Wendy Lawson (who hides a secret of her own). Absolutely stealing the show is Goose, an unsuspecting feline with an alarming secret played by four different cats: Reggie, Archie, Rizzo and Gonzo. The film also features Gemma Chan, Algenis Pérez Soto, and Rune Temte as members of Starforce. After an extended absence, Clark Gregg makes a welcome return as Phil Coulson, also impressively digitally de-aged like his senior SHIELD colleague. Seemingly returning for posterity, and somehow making even less of an impact than in their Guardians of the Galaxy debut, Djimon Hounsou and Lee Pace reprise the roles of Korath (a member of Starforce in the past) and Ronan the Accuser (still a sociopathic extremist but just sightly less).

Marvel Studios properly introduces their most powerful hero in an entertaining blend of space opera and 1990s buddy cop comedy. At its center, Captain Marvel is an inspirational story of realized potential finally unburdened by limitations unjustly set by others. Though it works within the trappings of a superhero origin story, there is an abundance of humor and several exciting twists that keep it thoroughly engaging. For existing fans, it is a worthy addition to the Marvel Studios canon that provides new context for previous installments and sets its sights toward a brilliant future.


MID-CREDITS STINGER
Dir. Anthony and Joe Russo
After debating over what to do about Nick Fury's pager that has suddenly become inactive, the Avengers meet Carol Danvers.


POST-CREDITS STINGER
Goose regurgitates the Tesseract on Nick Fury's desk.


STAN LEE CAMEO
While riding the subway, Stan the Man rehearses lines for his cameo appearance in Kevin Smith's Mallrats.


FRAGMENTS
- In memory of Stan Lee, the Marvel Studios logo that opens the film exclusively features images of Stan Lee and clips of his various cameo appearances from the Marvel Studios films

- Goose is named after Nick "Goose" Bradshaw from Top Gun; in the original Marvel Comics, the character is known as Chewie, named after Chewbacca from the Star Wars films

- Marvel Studios security director Barry Curtis makes a cameo appearance as a strip mall security officer

- Brie Larson and Samuel L. Jackson previously appeared together in Kong: Skull Island

- During Stan Lee's cameo appearance, Pinar Toprak's musical score subtly references the Marvel Studios Fanfare composed by Michael Giacchino

- Acclaimed Captain Marvel comic book writer Kelly Sue DeConnick makes a cameo appearance as a commuter in a Los Angeles subway station

- As Monica and Danvers select new colors for Danvers' uniform, they cycle through tbe color schemes of past Marvel Comics incarnations of Captain Marvel and Ms. Marvel: black, red, and gold; black and gold; and green and white

- Alan Silvestri's theme for The Avengers plays as Nick Fury decides to name name his initiative to gather enahanced heroes to protect Earth after Carol Danvers' aviator call sign


SUPPLEMENTAL STUFF
- Website: Captain Marvel | Trailer & Official Movie Site (1990s Style)

- Video: Pinar Toprak "Captain Marvel"


007 CONNECTIONS
- Lashana Lynch (Nomi in No Time To Die)

Vice

VICE
2018 | Dir. Adam McKay | 132 Minutes

"When a monotone bureaucratic Vice President came to power, we hardly noticed."

An alcoholic college dropout makes a promise to his ambitious girlfriend to turn his life around. He lands an internship at White House and eventually maneuvers his way to become the Secretary of Defense, his sights set on the Oval Office, eager to utilize an obscure political theory to attain an unprecedented amount of power. As his dream of becoming president slips away, a once-in-a-lifetime opportunity presents itself when he is offered the job of Vice President.

Writer/Director Adam McKay's follow up to 2015's The Big Short is an entertaining but wildly meandering evisceration of George W. Bush's enigmatic and ruthless Vice President. While the film's mysterious narrator eloquently states the picture's mission to examine exactly where a man like Dick Cheney originates, the movie never quite delivers on that promise. During its first half, the audience is presented with an unassuming dirt bag who becomes more callous as he successfully makes his way up the political ladder, but his motivations as dramatized by McKay's narrative never seem to go beyond an unquenchable thirst for power with occasional asides suggesting that he is also driven by the whims and ambitions of his wife Lynne. Perhaps by design, the second half is woefully unfocused, sorely lacking anything resembling a coherent emotional throughline.

It's an understatement to say that the overarching story is less than cinematic, but thankfully McKay's comedic sensibilities and the surreal storytelling structure of the picture serve to really liven things up. Stylistically similar to The Big Short, complex concepts (this time, political concepts), and sometimes the Cheney's character traits and backhanded strategies, are explained in humorous asides that are as funny as they are grim. However, the concluding punchlines doubling as major dark revelations surrounding the Bush Administration may seem underwhelming to anyone who paid close attention to news headlines at the time.

Christian Bale's Dick Cheney impression is uncanny and appropriately subdued. In that sense, it should be noted that the role does not require Bale to emote in the slightest as it is very much a purely physical transformation. Ever the force to be reckoned with, Amy Adams turns in another praiseworthy performance as Cheney's headstrong wife and prime motivator Lynne. Steve Carell is captivatingly despicable as the morally bankrupt Donald Rumsfeld. Sam Rockwell's screen time is limited but he is eerily believable as George W. Bush. The film also features Alison Pill and Lily Rabe as Cheney's daughters Mary and Liz, Tyler Perry as Colin Powell, and Alfred Molina, Naomi Watts, and Jesse Plemmons in minor but memorable roles.

Creative narrative structure, clever asides, and key bits of exposition delivered through fun featured cameos only carry Vice so far as it loses a considerable amount of steam during its back half. While it is an amusing and pointed indictment of the fundamental flaws within the American political system, the film's most glaring fault is that it doesn't have anything new or revelatory to say about Dick Cheney and the presidential administration he absolutely controlled.


FRAGMENTS
- Christian Bale gained 45 pounds to play Dick Cheney, reportedly eating lots of pies

- In one memorable sequence, Adam McKay compares the powers obtained through the Unitary Executive Theory to those of Galactus from Marvel Comics; McKay contributed to the script for Ant-Man and is rumored to be developing a film centered on Silver Surfer, Herald of Galactus


MCU CONNECTIONS

- Sam Rockwell (Justin Hammer in Iron Man 2)

- Alfred Molina (Otto Octavius in Spider-Man: No Way Home)

- Christian Bale (Gorr in Thor: Love and Thunder)

- Naomi Watts (EV in Spider-Man: Brand New Day)

A Star is Born

A STAR IS BORN
2018 | Dir. Bradley Cooper | 135 Minutes

"Music is essentially twelve notes between any octave. Twelve notes and the octave repeats. It's the same story told over and over. All the artist can offer the world is how they see those twelve notes."

By chance, talented amateur singer Ally leaves a lasting impression on country music superstar Jackson Maine when he sees Ally perform a drag bar. After convincing Ally to join him on stage to perform an original song that she had written, Ally becomes an overnight success. The pair fall deeply in love but their relationship is under constant pressure from Jack's objection to Ally's career choices and his personal struggles with depression and addiction.

Marking Hollywood's fourth take on A Star is Born, Bradley Cooper's directorial debut is clearly Cooper's passion project considering the amount of heart evident on screen in every frame. The love story that drives the picture is genuinely moving as is the inevitable tragedy inherent in every version of the story. Musical sequences are executed with impressive technical mastery, ranging in scale from small and intimate to massive and exhilarating. The songs, many of which were written by Lady Gaga and Cooper, are bona fide earworms. The moment Ally joins Jack on stage to perform her star-making song is pure cinematic magic, an instantly iconic sequence for the ages.

Unfortunately, the rest of the picture following that moment is spent coming down from that high, never to reach it again. Though surely by design, what remains is a fairly standard critique of stardom and celebrity ego, with Ally following the path of a generic albeit wildly successful pop singer and Jack overtaken by his deep-seated trauma and alcoholism. The wisdom Jack ultimately imparts on Ally is to use her voice to say something meaningful while she has the attention of the world, but his message never cuts any deeper than that.

The fantastic chemistry the two leads share is nothing short of remarkable. Lady Gaga is extraordinary as Ally, perfectly showcasing her authenticity, her vulnerability, and her raw musical talent. Gaga's innate charisma makes it remarkably easy to fall in love with Ally, providing a unique natural energy to her performance. Taking on the role of a self-destructive FM-country star on his way out, Cooper turns in a reliable but relatively standard performance with just enough quietly tormented inner life to stay engaging. The most impressive aspect of Cooper's performance is his commitment to look and sound the part of a country rock artist, without a doubt the product of dedicated research and training. The supporting cast features Andrew Dice Clay as Ally's lovable working class father, Sam Elliott as Jack's long suffering brother and manager, and Dave Chappelle in what amounts to an extended cameo appearance as Jack's supportive best friend.

Though not an entirely fresh retelling of a familiar story, A Star is Born is a well-crafted and emotionally resonant picture with an exceptional soundtrack. Its simple but moving love story is the feature's greatest strength. The film's biggest flaw is that it does not fully illustrate its most interesting idea: the responsibility of pop artists to deliver meaningful art considering the powerful but fleeting nature of their influence on the world.


FRAGMENTS
- The amusing dialogue in the drag bar scenes were mostly improvised

- Some of the musical performances were filmed at the 2017 Coachella Festival

- Jack and Ally's dog in the film is played by Bradley Cooper's dog Charlie


SUPPLEMENTAL STUFF
- Video: Lady Gaga and Bradley Cooper "Shallow"

- Video: Lady Gaga and Bradley Cooper "Shallow" (Live in Las Vegas on January 26, 2019)

- Video: Lady Gaga "Always Remember Us This Way"

- Video: Lady Gaga "Look What I Found"

- Video: Lady Gaga and Bradley Cooper "I'll Never Love Again"


MCU CONNECTIONS
- Bradley Cooper (Rocket in Guardians of the Galaxy, Guardians of the Galaxy Vol. 2, Avengers: Infinity War, Avengers: Endgame, Thor: Love and Thunder, and Guardians of the Galaxy Vol. 3)

Roma

ROMA
2018 | Dir. Alfonso Cuarón | 135 Minutes

"We love you so much, Cleo."

The modest life of a live-in housekeeper for a middle-class household in 1970 Colonia Roma is disrupted by an unexpected pregnancy. As her employer's marriage falls apart, political turmoil on the streets boil over, and her own situation worsens, Cleo carries on with genuine love and support from the family she serves.

Roma is a meditative examination of a life that would typically be overlooked or dismissed outright for a narrative feature. Beautifully shot in striking black and white, writer/director Alfonso Cuarón accentuates major events of Cleo's story by setting them against the politically volatile times of early 1970s Mexico. Mounting tensions within Cleo's life and her household symbolically manifest into spontaneous forest fires and violence in the streets. Through all of her highs and lows, the profound affection that Cleo shares with the family that employs her figuratively and literally saves her life as well as theirs.

Dedicated to his childhood nanny and loosely based on her life, Caurón captures the minutiae of Cleo's day-to-day activities in tender loving detail. Through these moments and her interactions with the family, particularly with the children she tends to and cares for, Cleo is authentically presented as a fully defined human being with a dignified inner life, never framed as a doting servant but as a valued member of the household. Visually, the scope of the film gracefully expands in several key sequences featuring Cuarón's signature long extended takes that seamlessly build dramatic tension.

Without any formal acting experience, Yalitza Aparicio is warm, charming, and remarkably natural as Cleo, essentially the polar opposite of a big flashy lead performance in the best way possible. Aparicio is especially heartbreaking during the final stretch of the story that requires her to express great loss and greater bravery. Playing the mother of the family, Marina de Tavira effectively portrays a highly-educated headstrong woman on the cusp of a painful divorce, a person who could not be any more different from Cleo in terms of social status and temperament. Some of the film's best moments are shared between Aparicio and de Tavira, as Cuarón focuses on the struggles that the two women have in common.

Visually breathtaking, crafted with love and precision, Roma is a comprehensive showcase of Alfonso Cuarón's skills as storyteller and filmmaker. The picture takes a deeply personal and compassionate look at the life of a humble servant and presents it on a scale that gracefully shifts between intimate and epic. The deliberate pacing the film may be a detractor for some viewers, but the human story of perseverance and unconditional love at its core is profoundly moving and absolutely worthy of an audience.


FRAGMENTS
- Like the character she portrays, Yalitza Aparicio cannot swim and was terrified about the climatic sequence on the beach

- The family goes to the cinema to see the 1969 space adventure film Marooned starring Gregory Peck, a direct inspiration for Alfonso Cuarón's 2013 film Gravity for which he won an Oscar for Best Director

Green Book

GREEN BOOK
2018 | Dir. Peter Farrelly | 130 Minutes

"You never win with violence, Tony. You only win when you maintain your dignity. Dignity always prevails."

New York wise guy Frank "Tony Lip" Vallelonga is hired by acclaimed black pianist Dr. Don Shirley to be his driver and bodyguard for an extended concert tour running through the American Midwest and the Deep South. On this travels with Dr. Shirley guided by the Negro Motorist Green Book, Tony witnesses the injustice black people are subjected to every day. By the end of the journey, Tony develops a lasting friendship with Dr. Shirley.

Based on the real life story of Tony's relationship with Dr. Shirley, written and produced by Tony's son Nick Vallelonga, Green Book is an odd couple comedic drama that juxtaposes street wise Tony with high society artist Dr. Shirley to present a heavy-handed but shallow anti-racism message. Director Peter Farrelly, best known for broad comedies, is a competent fit as the narrative follows the standard structure of a road movie not dissimilar to his past hits Dumb and Dumber and Me, Myself, and Irene. The humor, based primarily in Tony's ignorance and lewdness is rote and by the numbers, as is the way the film handles its central moral, from Tony quipping about the size of women's breasts in Pittsburgh, to his incredulous reaction when he discovers Dr. Shirley is unfamiliar with Little Richard's music, to his dramatic proclamation that his world is "blacker" than Dr. Shirley's when comparing the poverty in his Italian American community to Dr. Shirley's upper class way of life.

Viggo Mortensen's commitment to the role of Tony is commendable, doing his very best to humanize the character despite the fact that he was virtually written to as a stereotypical caricature. As Dr. Shirley, Mahershala Ali is brilliant, lifting up the film with his presence and showcasing his wide range of talent by bringing subtlety to the script's underwritten and somewhat inconsistent depiction of the virtuoso - troubled, reserved, eloquent, lonely, alcoholic, closeted homosexual. The onscreen chemistry between Mortensen and Ali is serviceable but less than memorable. Though always a welcome sight, Linda Cardellini appears in a small part as Tony's wife Dolores without much to do.

Strong performances from Viggo Mortensen and Mahershala Ali elevate Green Book's status from mediocre to pseudo-prestigious. At best, the film is a mostly harmless feel-good picture that simply wags a finger at racism in America. At worst, it doesn't quite work as a comedy or a drama, presenting situations that are far better executed in other pictures that tackle the same subject matter with substantially more grace, tact, and pertinence.


FRAGMENTS
- Dr. Shirley's family condemns the film, stating Tony and Dr. Shirley's relationship was only on a professional level, and the friendship depicted in the picture is a complete fabrication

- Viggo Mortensen gained over 40 pounds to play Tony


MCU CONNECTIONS
- Linda Cardellini (Laura Barton in Avengers: Age of Ultron and Avengers: Endgame, and Lylla in Guardians of the Galaxy Vol. 3)

- Mahershala Ali (Eric Brooks in Blade)