Category Archives: Film Reviews
The aspect of superheroes, even those within the animated world, have to change…in spite of themselves. The interesting permeation of Pixar in many ways is that it was around before. The texture of its life always resides in heart. Which is why in certain parts of “Incredibles 2”, there is the perception of paying homage to the superheroes and real life heroes it emulates. The aspect of loss at one point in the film is straight out of Batman mythology. Another line a direct homage to the original “Ghostbusters”. But while the film moves with inherent pace and rhythm, there isn’t that sense of wonder in even one sequence that rivals the loss or elation in “Inside Out” or “Up”. Granted there are some great comedic moments and even utterly subtle moments…most involving Jack Jack, the baby. The kid steals the show including a specific face off with an unnamed rodent. The aim too is different.
This installment plays a little more to adults although kids will get a kick out of it. Even the color pallette is slightly different. There is even a Tomorrowland kitsche to the design which no doubt is director Brad Bird’s influence considering that he made both “Mission Impossible: Ghost Protocol” and “Tomorrowland” in terms of live action since his last “Incredibles” film. That influence is understood since it shows his growth as a filmmaker but also maybe a loss of wonder in certain ways. The seeming ode to 60s James Bond films has its angle but nevertheless almost feels banal in certain ways. The inspiration comes into play at certain point especially when Aunt Edna (played by Bird himself) comes into play. Ultimately “Incredibles 2” is a more than steadily and effectively made sequel that hits all the right notes. There simply wasn’t that epiphany or longing moment.
However interestingly enough, that does find its way into “Bao”, the Pixar short film that precedes it which plays on a metaphor for an Asian mother who fashions the perception of her raising her son through the vision of a dumpling. Like previous Pixar shorts, it crosses borders because it is basic sans dialogue. However, unlike some others, there is an almost weirdly contextual end to the short which is unclear. So even though it hits the notes correctly, its ultimate resolution is slightly skewed which leaves it slightly confused in an overarching way. So the two films themselves are indeed an interesting mirror paradox of each other with “Incredibles 2” being an indeniably effective sequel missing a little something and “Bao” having its something but losing it in the final moment because of a lack of story clarity. Pixar has always valued story above everything so the takeaway is intriguing.
By Tim Wassberg
Burlesque and the ideals and motivations behind it have become more of an interesting discussion point, especially in the recent memory. There is sometimes debate of what is considered sexually repressive, sexually free or simply fun and a statement of self confidence and self esteem. Every person is different and every person has a reason to do burlesque. It is certainly not relegated to simply female although that for the most part makes up the majority of the performers of burlesque. It is about performance art but also titillation. It is also a way to examine sexual fantasy in a controlled environment. Previously, Fest Track did a piece on “Play Me Burlesque” out of the Coney Island Film Festival, which covered much of the same ground as “Getting Naked: A Burlesque Story” [Documentaries].
However the inherent emotional connection explored in the latter film definitely plays to the core of what burlesque is about. It examines a similar arena in New York but takes an even more interesting element within the tiers of competition and reasoning. This is done by showing a diverse cross section of performers. “Play Me Burlesque” did similar but different performers have different stories. Here Hazel Honeysuckle in real life is more of a homebody, a slightly more geeky girl that has started to play dress up and found an outlet for a willing audience (so much so that she got a residency at the Borgata in Atlantic City). She is young and vivacious with a talent for costumes. But there is also the Schlep Sisters who are a bit older and playing smaller clubs in New Jersey. It is not as glamorous but they enjoy it. But like all human beings, each person has obstacles to overcome. James Lester, as a director does not shy away from that reality and, as a result, gives a intrinsic sense of the performers personalities and both their strengths and shortcomings.
By Tim Wassberg
The movement of wit and style in “Oceans 8” is palpable. Sandra Bullock and Cate Blanchett dance like maneuvering cats across the screen in one of those pairings that decidedly needed to happen and one wonders why it took so long. Granted this is based off the basis of the Oceans films. Despite this, director Gary Ross is no Steven Soderbergh. There was something classically beautiful about “Oceans 11”. This movie has glimpses of that but much of it is done in a matter of fact style and decidedly unlike an old school heist film which the first Oceans felt like. Blanchett has the aspects of old school Bogie and Bullock Dean Martin but the overall heist almost seems too much in the real world without the true stylistic touches needed (beyond the music). We feel aspects of Bullock & Banchett as a team with the other 6 (most specifically Sarah Poulson’s character –- whose fence should have movie of hers all her own). All of these characters are fully formed. But everything serves the heist plot which itself in ultimate structures has holes despite the reassurance from Bullock’s character that she has thought everything through.
In the beginning of the film, like “Oceans 11”, you see these light ticks in the characters which is what makes Bullock so engaging on screen…that humor. Speaking with her mouth full which Blanchett coes back with a quick quip about her being Ukrainian. Lightning fast. Then it simmers down when those little bits should have been amped up. Easy to do in a scene and improv would have worked. There doesn’t seem to have much of it allowed here. They probably were not let go within the characters enough to really let loose. Again the texture is that this is a heist pure and simple with details that need refining.
Hathaway as a specific form of the mark seems to have more fun than anyone though she is utterly overplaying the character, albeit on purpose, but it almost seems out of sync. Bonham Carter as a designer has the reverse issue. Even in a more subdued character one was hoping for more acidic wit that she is known for no matter what she does. Even one look in “Sweeney Todd” from her conveyed a lifetime. Again it might have just had to do with control of the director. The characters that truly play it up and get that balance right is Awkwafina and Rhianna. They come off as effortless in many ways. But like Casey Affleck and Scott Caan in “Oceans 11”, they were just mechanizations to the plot, not the focal point. Bullock and Blanchett have to do the heavy lifting but that incessant banter that marked the Clooney/Pitt interaction could again have been played much more up between Bullock/Blanchett since they are every bit on that level.
In terms of story structure there is a lot of similarities to 11…and this is on purpose. They also don’t overuse that connection which could have been easily done but also key it in enough to make it work. Certain misdirects and coincidental connections are simply at times too convenient in terms of the plot and not in an undeniable way. Now against all this, the film is fun to watch as the play is going. But when reflected more on how it works, it crumbles a bit. Again that is not the fault of the actors but of the script and, to a more specific point, the direction. However, it is tall order considering the film it is being compared to. The most apt reference at times to make with this is perhaps to “Red”. Everyone in that film knew they were playing a slick farce and racheted it up. John Malkovich especially). The people here are aware for sure but the plot takes over too much to really let that shine and take it to another level. The set up at the Met Gala is inspired. The actors perfect to a T. But plot and direction simply not quite up to par.
By Tim Wassberg