F9

F9
2021 | Dir. Justin Lin | 145 Minutes

"It’s not about being the stronger man, Dom. It’s about being the bigger one."


Dominic Toretto's crew is called to action again when rogue agents forcefully extract their nemesis Cipher from Mr. Nobody's custody. With help from a long lost friend, Dom must confront his past in order to save the world from a would-be despot in league with an unexpected adversary, Dom and Mia's estranged brother Jakob.

While there is still plenty of mindless fun to be had, F9 is equal parts forced sequel and unnecessary prequel, loaded with flashbacks dubiously attempting to manufacture a plot that barely holds together the film's set pieces while serving up a massive helping of perhaps misguided fan service to those who have stuck with the films through thick and thin. The sudden introduction of a long lost Toretto sibling this late in the game doesn't quite work despite all the effort expended to weave him into established continuity. The sequences featuring younger actors filling in as Dom and Jakob in their pre-The Fast and the Furious youth do a decent job of fleshing out the story of their father's tragic demise while bringing the picture back to the franchise's racing roots, but they also show just how far the series has come in a bad way, juxtaposing sharply against its current loud, over-the-top, mostly nonsensical smorgasbord of impossible stunts and espionage action. More in response to fan demand than to serve the overarching plot of these pictures in any meaningful way, the more the filmmakers attempt to explain Han's seemingly miraculous return the less it makes sense on a story level, arguably invalidating the mid-credits twist at the end of Fast & Furious 6 and practically discarding the entire dramatic motivation behind Furious 7. The one aspect of the script that works remarkably well is the self-referential humor offered up by Roman and Tej as the bickering duo become aware of and question the crew's apparent invulnerability.

The action scenes are competent but they frankly just aren't as fresh as the ones from previous, better installments. The jungle sequence in the first act featuring a car chase through a minefield culminating is a physics-defying, logic-defying vehicular swing across a mountain range is absolutely ridiculous even for this series. Thankfully, the mid-film and climatic chase sequences through Edinburgh and Tbilisi heavily featuring highly exaggerated electromagnet mayhem are much more amusing. Roman and Tej's impractical excursion into Earth's orbit is also good fun despite leaving the strong impression of being shoehorned into the picture to address years of mostly-ironic speculation from fans. Leaving much to be desired, all of the hand-to-hand combat sequences are sloppily performed, and choppily shot and cut.

Disappointingly, Vin Diesel practically sleepwalks through this film despite being the de facto lead this time around. John Cena does a fine job as Jakob, appropriately intimidating while easily selling the role of a sympathetic antagonist. Playing young Dom and Jakob, Vinnie Bennett and Finn Cole deliver serviceable impressions of Vin Diesel and John Cena while lifting more dramatic weight than either top-billed star. JD Pardo also stands out as Toretto patriarch Jack, giving the character an proper face as well as a bit of unexpected nuance. Thue Ersted Rasmussen plays a rather forgettable antagonist that's a cross between a poor man's David Bowie and an even poorer man's Elon Musk. Michael Rooker is a great addition as Toretto family friend Buddy but his role is mostly thankless. Michelle Rodriguez and Jordana Brewster return not only to take part in a fair amount to the action but also share a few decent dramatic beats as Letty and Mia for once. The natural comedic chemistry between Tyrese Gibson and Chris "Ludacris" Bridges is at its very best, allowing the pair to deliver the best Roman and Tej moments to date. Nathalie Emmanuel capitalizes on her chance to show off her comedy skills as Ramsey in one hilarious action sequence. It's a thrill to see Sung Kang return as Han but he oddly doesn't have very much to do besides escorting a living McGuffin played by Anna Sawai, doing what she can with such a vague sketch of a character. Tokyo Drift alums Lucas Black, Bow Wow, and Jason Tobin are a welcome sight despite being awkwardly slotted into the plot. Also returning from previous films are Kurt Russell, Charlize Theron, Shea Whigham, Helen Mirren, and Don Omar in what amount to glorified cameos.

Constructing its plot through excessive retconning and packed with increasingly silly novel gimmicks, F9 fully embraces the franchise's post-shark-jump status with mostly mixed results. While it's an entertaining installment overall, more discerning audiences can't be blamed for checking out entirely at this point. This one can only be recommended for ride or die Fast & Furious fans.


MID-CREDITS STINGER
Deckard Shaw (Jason Statham) letting off some steam beating a sniveling man inside a punching bag is interrupted by a knock on the door. Shaw opens the door to see Han.


FRAGMENTS
- The series' tradition of assigning unconventional titles to its sequels continues; while the title of this installment is neat and succinct F9, the marketing campaign gives this film, and perhaps the mainline series itself, the rather heavy-handed subtitle The Fast Saga

- In Japan, the title for this film is Wild Speed: Jet Break

- The film opens with a variation of the Universal Pictures logo based on the version from the 1990s

- The drag race flashback sequence is particularly amusing in how features a complete cast of actors playing young versions of the Dom's entire original crew from The Fast and the Furious

- While it's not any more out of place than anything else featured in this series, the Cardi B cameo is super distracting 

- Revisiting stock footage of pre-Wonder Woman Gal Gadot's Gisele from Fast & Furious 6 sure is trip

- The Star Wars banter between Otto and Cipher is actually kind of hilarious



- Charlize Theron (Clea in Doctor Strange in the Multiverse of Madness)
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Luca

LUCA
2021 | Dir. Enrico Casarosa | 101 Minutes

"Some people, they’ll never accept him, but some will, and he seems to know how to find the good ones."


Disguised as humans, teenage sea monsters Luca and Alberto enter a small coastal town looking for a Vespa with dreams of traveling the world. Giulia, a fisherman's plucky daughter, recruit the duo to enter a triathlon in hopes of besting the town bully. Though constantly at risk of discovery by the fearful townspeople while dodging Luca's over-protective parents, Luca and Alberto have the summer of their lives.

Set in the Italian Riviera, Luca is an ode to Italian culture and youthful summer days spent with friends swimming, biking, gorging on pasta, and dreaming in the sun. For better or worse, the tone of the film is as light as its low-stakes plot, though the narrative gains a considerable amount of momentum at the end of the second act as the picture's central relationship, a fully-realized friendship with ups and downs that are true to life, eventually presents a conflict more compelling than the one posed by the story's antagonist. In its third act, the picture comes together beautifully, particularly during the frantic climatic triathlon sequence. Beyond the bountiful comedy mined from its literal fish-out-water premise, jokes and physical gags that practically write themselves, the simple story of a mythical creature going to great lengths to pass as human in order to live among them may easily be applied as a metaphor for the experiences of anyone who has ever been labeled an outsider by society.

As to be expected from a Pixar film, the attention to detail in every aspect of the production design is meticulous and absolutely lovely. Populated with countless interesting unique extras and landmarks that quickly become recognizable, weathered to perfection, the fishing town of Portorosso feels alive, believable, welcoming, and very Italian. While the animation quality is splendid throughout, the fantastical dream sequences within Luca's imagination in particular are full of wonder and spectacle.

Jacob Tremblay delivers a natural performance as the eponymous hero of the story, lending his youthful voice to a boy who gradually learns to stifle his fears and pursue his dreams. Tremblay plays perfectly off of Jack Dylan Grazer's over-confident, secretly insecure Alberto, creating an amusing dynamic. Voicing the fiery Giulia, Emma Berman is appropriately full of pep. Slightly over-the-top, Saverio Raimondo imbues the bully Ercole with almost too much smarm. Maya Rudolph and Jim Gaffigan's opposing comedic stylings are perfectly fit Luca's high-strung mother and laid-back father. The film also features Marco Barricelli as Giulia's taciturn father with a heart of gold, Sandy Martin as Luca's knowing and subtly supportive grandmother, and Sacha Baron Cohen as the bizarre anglerfish Uncle Ugo.

Luca is a real crowd pleaser, full of joy and emotionally resonant where it counts. A brisk ride through an idyllic Italian summer setting, it is a heartwarming if rather modest picture greatly elevated by Pixar's customary top quality artistry. Its small-scale story of friendship and overcoming fear as an outsider isn't the most dramatic narrative by modern animated feature standards, though it may be a richer allegory than expected for audiences who care to read into it.


POST-CREDITS STINGER
Uncle Ugo monologues about life in the deep to a lost sheepfish.


A113
Luca's train ticket to Genova is ticket number A113


PIXAR INTERCONNECTIVITY
- The ball from 1986 Pixar animated short Luxo, Jr. appears on the roof of one of the buildings during the triathlon sequence

- A Pizza Planet Piaggio Ape appears during the final rainy stretch of the triathlon


FRAGMENTS
- The film is credited as "produced in our slippers around the bay area" in reference to how the picture was produced remotely by Pixar staff during the COVID-19 lockdown of 2020

- Luca's surname is Paguro which means "hermit crab" in Italian, while Alberto's is Scorfano which means "scorpionfish"

- The town of Portorosso is named after Hayao Miyazaki's 1992 film Porco Rosso

- 94608, the number on the train to Genova, is the zip code for Pixar Animation Studios in Emeryville, California

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The Trial of the Chicago 7

THE TRIAL OF THE CHICAGO 7
2020 | Dir. Aaron Sorkin | 130 Minutes

"Give me a moment, would you, friend? I've never been on trial for my thoughts before."


Various civil rights activists who protested the Vietnam War at the 1968 Democratic National Convention held in Chicago are put on trial by the federal government, accused of conspiracy to incite riots. Though their specific motivations for attending the protest differ, the defendants must find common ground if they hope to win against the oppressive establishment that has no qualms about playing dirty.

Dramatizing the preposterously unjust titular trial, the latest film directed by Aaron Sorkin is a complete showcase of the acclaimed writer's strengths. The Trial of the Chicago 7 details the respective motivations of the accused protesters and the gross political corruption that infects the American criminal justice system. Effectively presenting how different civil rights activists often have varying agendas and tactics that may not precisely align, ranging from those participating in non-violent peaceful demonstration to those eager to respond to brutality with brutality, the narrative convincingly suggests that their lack of unity may be their greatest weakness while the system they challenge is not above manipulating the legal system to crush the constitutional right to dissent and the democracy it is meant to protect.

Fast-paced and thoroughly engrossing, The Trial of the Chicago 7 is greatly elevated by Sorkin's knack for crafting brilliant dialogue. To great dramatic effect, the picture quickly builds momentum as it cuts between the arduous legal proceedings and the events leading up to the protest and the violence that erupted during the protest itself. Orchestrated by a political administration holding a trivial grudge against its predecessor, the trial is depicted as a frustrating seemingly unwinnable uphill battle for the protestors, a gross miscarriage of justice presided over by a clearly biased and petty judge who doesn't even bother to remember the names of the defendants. The protest sequences are presented in visceral detail, both terrifying and exhilarating, as it gradually breaks out into utter chaos from flaring tensions and deliberate escalation perpetrated by confrontational law enforcement. Both story threads are satisfyingly resolved, perhaps a little too neatly but allowing the picture to deliver an appropriately cathartic conclusion.

While it may be one of his least flashy performances, Eddie Redmayne is reliably good the role of Tom Hayden. Sacha Baron Cohen stands out in his portrayal of Abbie Hoffman, turning in a solid dramatic performance without losing any of his inherent humor and charm despite putting on a dubious accent. Absolutely stealing the show, Jeremy Strong is particularly impressive, totally unrecognizable as Hoffman's fellow shaggy anti-establishment Yippe co-founder Jerry Rubin. As conscientious objector David Dellinger, versatile character actor John Carroll Lynch in gentle giant mode is a perfect fit for the role. Yahya Abdul-Mateen II delivers a commanding performance as the woefully mistreated eighth defendant, Black Panther Party chairman Bobby Seale. As underdog defense lawyer William Kunstler, Mark Rylance brings his signature brand of understated dignity to the role. Joseph Gordon-Levitt makes for a convincingly nuanced somewhat conflicted antagonist in his portrayal of federal prosecutor Richard Schultz. Conversely, Frank Langella plays Judge Julius Hoffman as a delightfully aggravating villain that's easy to hate. Among many other solid supporting players, the cast also features Kelvin Harrison Jr., Caitlin FitzGerald and Michael Keaton in brief attention-grabbing roles.

An electrifying courtroom drama that is as entertaining as it is timely, The Trial of the Chicago 7 ranks among Aaron Sorkin's very best work. Featuring a razor-sharp script and an expansive roster of fantastic actors, the picture emphatically promotes the importance of finding strength through solidarity in the ongoing struggle for social justice in America.


FRAGMENTS
- In its early stages of development, Steven Spielberg was initially attached to direct the film, planning on casting Heath Ledger as Tom Hayden and Will Smith as Bobby Seale

- A pivotal event in this film, the murder of Illinois Chapter Black Panther Party chairman Fred Hampton is thoroughly explored in competing 2021 Best Picture Nominee Judas and the Black Messiah which features Daniel Kaluuya as Hampton

- Jeremy Strong and Caitlin FitzGerald star in the acclaimed HBO Original Series Succession


MCU CONNECTIONS
- Michael Keaton (Adrian Toomes in Spider-Man: Homecoming)
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Sound of Metal

SOUND OF METAL
2020 | Dir. Darius Marder | 120 Minutes

"You don't need to fix anything here."


Heavy metal drummer Ruben suddenly experiences severe hearing loss. A former drug addict, Ruben reluctantly moves in with a support group of other deaf recovering addicts at the recommendation of his sponsor. Though he gradually finds his place within the community, Ruben must choose between making peace with his condition or attempting to correct it at great cost.

Directed and co-written by Darius Marder, Sound of Metal is an extraordinarily well-constructed character study on one man's struggle to rebuild his life following unexpected misfortune. The film essentially presents Ruben with two choices: salvage what remains of his old life or embark on a new path. While the picture skillfully presents the daily challenges of deaf people with incredible technique and care, Ruben's troubles extend beyond the sudden onset of his disability.

The sound design and overall presentation of the film are exceptionally inventive and serve a vital functional purpose. On a thematically resonant level, Ruben's talent for thunderous percussion as depicted in the first act of the picture is an outlet for his deep well of internal pain, and his romance with bandmate Lou is heavily implied to be linked to his sobriety. As Ruben loses his hearing, the sound mix from his point of view is distorted until it eventually becomes a dull silence, fully immersing the audience in his frustration. Subtitles translating American Sign Language are unavailable until Ruben learns to communicate with his hands. As Ruben adapts to living with his disability, even finding joy in interacting with members of his new community, the audio is filled with the ambient sounds of nature. Both Ruben and the viewer are urged to find serenity in stillness and quiet rather than striving for unnecessary correction, an idea that is strongly reinforced in the picture's final act when a successful medical procedure is decidedly proven not to be the solution to Ruben's problems after all.

With the film heavily relying on his facial expressions and overall physicality, Riz Ahmed is phenomenal in the role of Ruben, effortless conveying the drummer's rage and restlessness as well as his eventual serene enlightenment without ever devolving into caricature. As the support group founder Joe, Paul Raci radiates with genuine warmth through a stern exterior, making the character's eventual disappointment with Ruben all the more heartbreaking. Olivia Cooke supplies Lou with a great deal of nuance and not often found in love interest roles that are typically thankless. The cast also features in minor but notable roles Lauren Ridloff as a teacher at a school for the deaf and Mathieu Amalric as Lou's wealthy father.

Technically impressive and profoundly affecting, Sound of Metal is a story of acceptance, of letting go, and of life carrying on. The picture is carried by both its lead actor's exceptional performance and its uniquely immersive audio presentation, compellingly projecting its central message that disability is not synonymous with deficiency.


FRAGMENTS
- The idea for the film originates from a stalled Derek Cianfrance project entitled Metalhead

- To play Ruben, Riz Ahmed spent eight months learning the to play the drums and learning ASL


007 CONNECTIONS
- Mathieu Amalric (Dominic Greene in Quantum of Solace)


MCU CONNECTIONS
- Lauren Ridloff (Makkari in Eternals)
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Promising Young Woman

PROMISING YOUNG WOMAN
2020 | Dir. Emerald Fennell | 113 Minutes

"I'm not the only one who does this. And some of the other girls, they really are crazy."


Forever scarred by the devastating sexual assault that destroyed her best friend Nina, med school drop-out Cassie spends her nights prowling bars, exposing and psychologically punishing men who prey on drunk women. When she learns Nina's rapist is thriving professionally and getting married, Cassie methodically plots revenge against him and his enablers.

Writer/director Emerald Fennell's feature debut is a superbly-executed revenge film featuring an inspired premise and a razor-sharp script with a grim sense of humor. Following a brisk opening act that entertainingly introduces the cunning anti-heroine protagonist and her MO, the picture is neatly divided into five sections, one for each step of Cassie's meticulous plan. As Cassie teaches unforgettable lessons to each of her targets, she does so at the expense of her own happiness, losing a bit of her soul each time, straining her relationship with her parents and her budding romance with a former classmate. The plot is thoroughly engaging with a wealth of unpredictable turns, from a tortured surprisingly repentant lawyer that casts doubt on Cassie's mission to a late film twist that irrevocably reinforces it.

Considering its difficult subject matter, Promising Young Woman is remarkably appealing in its overall presentation. The bright color palette of the film is striking and through thoughtful framing, most of the shots serve to highlight Cassie's isolation from others. To drive home the point that vengeance is a solitary path, unless she is on the hunt, Cassie seldom shares screen space with others. When she does there is noticeable distance separating her from the supporting characters who care about her with a few notable exceptions: her scenes with love interest Ryan, her boss at her coffee shop day job Gail, and Nina's mother. Thematically, Ryan represents Cassie's option to abandon her crusade and reconnect with the world, and to a certain extent her only friend Gail symbolizes this as well as she constantly encourages Cassie to build a career beyond the coffee shop, while her friendly but uncomfortable relationship with Nina's mother embodies her refusal to move on from her grief over Nina. The tense musical score by Anthony Willis sounds appropriate for a thriller, notably featuring a killer string rendition of Britney Spears' "Toxic" that opens the final act of the picture. Willis' score juxtaposes nicely against upbeat needle-drops such as Paris Hilton's "Stars Are Blind" and Juice Newton's "Angel of the Morning."

In the lead role, Carey Mulligan is a force to be reckoned with, delivering an emotionally complex performance that seamlessly switches between extremely cool and affectingly vulnerable. As love interest Ryan, the charismatic Bo Burnham is delightfully charming, dialing up a likably awkward persona which makes his part in the twist all the more upsetting. The all-around excellent supporting cast features Clancy Brown and Jennifer Coolidge amusingly playing Cassie's clueless parents, Laverne Cox impeccably cast as the supportive Gail, Max Greenfield going full douchebag bro, and Molly Shannon delivering brief but notable dramatic performance as Nina's mother. Playing Cassie's targets, Alison Brie is believably vapid as Cassie's schoolmate Madison, Connie Britton plays the insufferably impersonal dean at Cassie's medical school with perfect poise until it is shattered, the reliably great Alfred Molina stands out as a tormented lawyer, and Chris Lowell is at his most convincingly spineless portraying Nina's rapist. Brilliantly cast against type, nice guy actors Adam Brody, Christopher Mintz-Plasse, and Samuel Richardson appear as predators who fall prey to Cassie's nightly hunt.

With a spectacular script and stellar direction, Emerald Fennell's Promising Young Woman is intense, darkly funny, and aesthetically pleasing from start to finish. It is an ingenious revenge story, one that illustrates the self-destructive all-consuming nature of seeking vengeance but also one that demands society at large to be held accountable for intolerable casual misogyny on any level.


FRAGMENTS
- Emerald Fennell makes a cameo appearance as the host of an online "blow job lips" makeup tutorial video

- Alison Brie and Chris Lowell starred in the excellent Netflix Original Series GLOW

- The film never explicitly defines the meaning of the different colored markings in Cassie's notebook


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