Avengers: The Age of Ultron

It’s probably not a good sign when you’re sitting in Avengers: Age of Ultron and thinking, “Y’know what was a really good Marvel movie?  Captain America: The Winter Soldier.  Where’s Robert Redford when you need him?”

Some background: I took my two older boys, ages 15 & 8, to see this movie.  I really wanted to see Mad Max: Fury Road, but fatherhood isn’t about getting what you want.  So, there we sat, popcorn and soda in hand, ready for some Whedon-y goodness.

[On further reflection, it probably wasn’t a good idea to let my 8-yr-old get the medium root beer, which would be a large in any sane world and contained roughly a metric ton of corn syrup.  After about fifteen minutes, he started to squirm, after 30, he was all over the place.  In thirty minute intervals thereafter, he left the (mostly empty) theater to run to the bathroom – probably more for the running than the actual bathroom.]

In the story, Tony Stark is basically Victor Frankenstein and the android Ultron his mad creation.  Unlike Frankenstein, Ultron doesn’t start out innocent and misunderstood.  It starts out evil, a fanatic who sees mass murder as a perfectly acceptable expedient enroute to utopia.  
And then there’s a lot of punching, plus a guy with a bow and arrow saying, “What am I doing here?  I’m just a guy with a bow and arrow!”  And people get hurt, and innocents get killed, and there’s a lot of angst, and it’s all so miserable that I thought I was in a DC movie.  In fact, it’s so miserable that, at the end of the movie, several characters just quit the team.  

Don’t get me wrong: the effects are great, the leads are likeable, and Linda Cardellini and Paul Bettany both shine in supporting roles.  But after two and a half hours, I wanted a little less recycled Shelly and little more Spider-Man learning to swing, or Star Lord disco-ing through space-ruins, or Robert Redford opening his fridge to find a bottle of Newman’s Own salad dressing on the top shelf.  I wanted some fun.  I wanted some laughs.  I wanted some moustache-twirling.  All I got were meditations on mortality, morality, and the use of denouments as leveraging tools in contract negotiations.

But, hey, my boys liked it.  As for me, I am honestly beginning to suspect that I’m getting too old for this stuff.

Snowpiercer

Joon-ho Bong is one of the most interesting directors going right now.  With Memories of Murder, The Host, Mother, and now Snowpiercer, he’s building a filmography of subtle, exciting, and thought provoking films.  This is a name that guarantees a spot on my queue.

Snowpiercer, Bong’s first production with a primarily Western cast, stars Captain America’s Chris Evans as the leader of a rebellion on mankind’s last ark in an apocalyptic snowscape.  Supporting cast members include John Hurt, Tilda Swinton, Ed Harris, and Alison Pill, as well as previous Bong collaborators Ah-sung Ko of The Host and the great Kang-ho Song of The Thirst.

Why throw all those names at you?  To tell you that Joon-ho Bong is a serious cat.  He’s someone with whom people want to work.

Snowpiercer’s a great example of why.  This is a carefully written, fully realized film that works as an action adventure, a social parable, and even something of a whodunit.  It features memorable performances, brilliant setpieces, and dialogue that provokes thought without ever drawing the viewer out of the film.

This is just a terrific movie, and well worth your time.  Fire up Snowpiercer.

Captain America: The Winter Soldier

Captain America: The Winter Soldier fuses the paranoid political thriller and the superhero action showcase. That it does so well, in part and in total, is a remarkable achievement.

Here's the setup: Cap & Black Widow (Chris Evans and Scarlett Johansson) are the two most attractive people in government service. They're also a superhero team that flies around the world doing secret missions for SHIELD. SHIELD is basically the DHS, but competent, international, and much better funded. SHIELD, however, may have a hidden agenda. Will Cap & BW sort things out in time?

Well, yeah, of course they will. That's not the point. The point is how well the film tells their story. Robert Redford (as, basically the Secretary of SHIELD) and Samuel L. Jackson (as himself) carry the political thriller aspects of the picture with aplomb. Evans & Johansson, who team up with Anthony Mackie (of the criminally underrated Abraham Lincoln: Vampire Hunter) to battle Frank Grillo (Warrior) and Sebastian Stan (Black Swan), make a great action duo. They combine athleticism with real acting chops, selling both their battles and their dialogue.

That said, the real star here is the story. It's like a finely tuned machine, shifting from character beats to action set-pieces and back again smoothly and gracefully. It parcels out information at just the right pace to allow us to keep up, and it hangs together well enough that it still makes sense a few days later.

In short, this is a successful motion picture. It clips along briskly, it's well engineered, it involved me in the lives of its characters, and it kept me engaged the entire time.

But that isn't what I'll remember about it.

I'll remember two particular moments (the second of which is a spoiler). The first is minor piece of set-dressing. When Redford's character opens his kitchen refrigerator, the astute viewer will notice that he stocks his fridge with Newman's Own marinara sauce. That's a nice touch. The second is the most powerful scene in the movie. Villain Frank Grillo, all muscles, veins, and menace, is pointing his gun at the back of a computer technician's head, commanding him to enter a code that will make bad things happen. The technician, whom I'm guessing is played by Aaron Himelstein, squirms with terror. Nevertheless, he refuses to enter the code. That's fine, but the part that sells the moment is that he doesn't refuse nobly, standing up to the meanie and telling him to get stuffed. He practically squeaks his refusal, trying to melt into his chair and probably $#!^ting his pants. It's the bravest damn thing I've seen in a movie all year.


Well done.

The Avengers

I suspect that The Avengers is pretty much the best movie about The Avengers that it’s possible to make.  Consider this:

·      There are several Avengers, all of whom we should care about.

·      They need something to avenge, something that we in the audience feel needs avenging.  The audience needs to cry.  Then, it needs to get mad.

·      People liked Iron Man more than they liked The Hulk.  Message: make ‘em laugh; don’t make ‘em think.

·      Lots of stuff had better blow up real good.

Now, consider the following:

·      Joss Whedon is really, really good at screenwriting and directing.  His resume demonstrates an ablity to craft fully realized worlds, populate them with diverse and engaging characters, and give those characters interesting (and funny) things to say.

·      He’s not afraid to blow stuff up real good.

So, Item One: so many Avengers, so little time.  Whedon addresses this by taking characters who had been in bad movies (Captain America, Thor, The Incredible Hulk, Iron Man 2) and cutting those film’s weaknesses.  Consequently, he capitalizes on their strengths.  Here’s a rundown:

Robert Downey, Jr.’s comic timing is Iron Man’s whole appeal.  Too much of it, however, and you want him to just shut up already.  The Avengers uses him enough to satisfy the audience’s thirst for its favorite player, but not so much that they hope for Sam Rockwell to show up and give ‘em a break.

Thor’s problem was that the whole movie was about two things: Thor’s magical transformation from dick to hero through the power of Natalie Portman’s smile, and Loki’s descent from someone who, reasonably enough, doesn’t like the dickish Thor to full-blown villain.  Here, Chris Hemsworth’s Thor begins the film understanding justice and humility while Tom Hiddleston’s Loki radiates gleeful malevolence.  Now, I’ve got a good guy I can root for and a bad guy I can boo. 

Edward Norton is a brilliant actor, no doubt about it.  But his Bruce Banner was just plain boring.  Eric Bana’s version, on the other hand, was masterful; but everybody (except for me) hated that movie.  Whedon’s solution?  Assume his audience already knows Banner’s back story and give us a whole new guy to play the character.  Mark Ruffalo plays Banner not as a rope about to snap, but as a decent guy with issues – a guy who can tell a joke.  We sympathized with Norton and Bana, but we like Ruffalo.

Captain America suffered from being just another origin story.  Its villains, extra-evil Nazis calling themselves Hydra, were an insult to every self-respecting actual evil Nazi still hiding out in Argentina.  I mean, c’mon!  How do you top real, historic Nazis for evil?  And Illinois Nazis don’t count.  Further, if you’re Captain America and you’ve already beaten the Nazis, where are you going to go next?  That’s why Loki’s the perfect foil: he’s the villain of Norse mythology, one of the touchstones of German National Socialism.  Further, Whedon leverages the fact that Chris Evans’s Captain America is an actual Army captain, schooled in small unit tactics and experienced in leading capable people under stressful conditions.  Throw in some fish-out-water material (he had to get the character to 2012 somehow), and you are maximizing the potential of this character.

There are other Avengers, like Scarlett Johansson, whom we like because she’s Scarlett Johansson, and Jeremy Renner, whom we like because we remember The Hurt Locker.  And you know what?  It all works.  Whedon takes the best, most entertaining aspects of his characters, cuts the fat, and gives us concurrent arcs in which we can believe.  Success!

Item Two:  Whedon does give them something to avenge, and it works on a personal level.  This isn’t, “Hey, you wiped out a Dunkin’ Donuts, and now we’re really mad.”  It’s, “You have gone too far, and this shall not stand.”  Going in to the details would spoil the film, I think.  But I’m comfortable telling you that Whedon surprised me, saddened me, angered me, and made me hungry for revenge.

Item Three:  The Avengers is funny.  I laughed out loud more often than I did at Bridesmaids.

Item Four:  Lots of stuff does, in fact, blow up real good.

So, there’s all that.  There’s plenty that didn’t work for me, as well.  The “Let’s fight before we team up” stage went on a little long.  I’m convinced that Tony Stark’s true nature is that of an amusingly selfish jerk, sentencing us to film after film in which he learns to not be such a jerk, only so that he can forget those lessons in time for the next outing.  I never have been able to get past the fact that a hovering aircraft carrier is a profoundly stupid idea.  But that’s ok.  By taking the best of the films that preceded it, The Avengers crafts an exciting, spectacular, fun time at the movies.

Movies like this are what popcorn is made for.  Or shawarma.  Whatever.

Captain America

Captain America failed to capture my imagination.  It never made me feel like I was watching people, even extraordinary people, in dangerous situations.  It made me feel like I was watching characters go through the motions of yet another ‘origin story’ that really served as a prelude to the big Avengers movie the studio has planned for next year.  Its perils didn’t feel organic, its villain struck me as silly (The villain’s someone called Red Skull, who’s a really evil Nazi because – what? – regular Nazis aren’t evil enough?), and Captain America’s “super-special good guy team” just looked goofy.

Hey, I like star Chris Evans, who was the best thing about the Fantastic Four movies and Sunshine.  I like Hugo Weaving and Tommy Lee Jones and Stanley Tucci; and Hayley Atwell is easy on the eyes.  But I never believed in what I saw, and it wasn’t long before Captain America had me looking at my watch.  I hope The Avengers will surprise me with something wonderful.  Based on what I saw in Iron Man 2, Thor, and now this, I’m not holding my breath.

Sunshine

There's a lot to like about SUNSHINE. It sports dazzling visuals, arresting sound design, and a fun twist on the reliable science fiction premise of things going wrong on a spaceship far from home. The twist, of course, is that this spaceship is on a mission that takes it dangerously close to the sun, and the star's radiation is so dangerous that it borders on tangible.

Often, a film like this will pit the feeling humanists against the cold-hearted military types. I thought SUNSHINE was going down this road, so imagine how surprised and delighted I was when the military types turned out to be right time and again. Another common pitfall of this kind of picture is a disregard for physics, and I thought that SUNSHINE handled this particularly well in the third act, when time and space get ginchy.

Unfortunately, however, physics is about the only thing right about the third act. When the movie twists, its as if the filmmakers lost faith in the inherent fascination of their premise and decided to go, instead, with a bogeyman. And then they present the bogeyman horribly, with inexplicable fuzzy-cam and at least one victim shot so amateurish that I couldn't believe it made the final cut.

Even with the disappointing close, however, I still recommend SUNSHINE. It looks great, sounds great, and is a good time at the movies for most of its run. You could do worse.

Fantastic Four: Rise of the Silver Surfer

Y’know what I liked about the FANTASTIC FOUR: RISE OF THE SILVER SURFER? Its sense of fun. This film takes plenty of time for gags, and this lightness works toward creating a pleasant, rather innocuous entry in the series.

The Silver Surfer, who actually looks more like a mercury surfer, is an extraterrestrial being who, um, surfs around the galaxy preparing life-bearing planets for consumption at the hands of another, larger extraterrestrial being. When he shows up on Earth, its up to the Fantastic Four, with a combination of help and interference from old nemeses Victor von Doom and some U.S. Army general with Canadian jump wings and jurisdiction in London and Siberia. (Aside: Andre Braugher plays the general. Whenever I see him, I recall the top-notch Iago he played in a production of Othello opposite Avery Brooks. Suffice it to say that Iago is a more interesting character than the stock “military guy as imagined by people who’ve never been in the military” he’s stuck with here.)

That’s a fine setup for a superhero movie, but what makes F2S2 a pleasant time at the movies is the interaction between the members of the Fantastic Four. These people care about one another, and I enjoyed their interactions as they tried to both save the world and lift one another up.

Is F2S2 a particularly good movie? Not really, and I’d skip right by it if I ran across it on a hotel TV. But it’s fine and, if your kids want to watch it, it won’t kill you to sit down and watch it with them. Tepid praise, but praise nonetheless.