The texture of a superhero is the essence of decision making. The interesting progression of “Spiderman: Far From Home” operates in the realm of naivete. Having done interviews for the original Spiderman films from Sam Raimi but never really watching Andrew Garfield’s version, Tom Holland’s approach is one almost of innocent bewilderment which in turn gives him a sense of awe. One of the most affecting moments in an earlier “Avengers” film is when Holland looks at Robert Downey Jr. as Tony Stark as he is disappearing with a questioning line. But that establishes such a structure that perhaps earlier Spiderman films didn’t have: a connection to others and a larger world. This is likely what will fuel the Black Widow film with Scarlet Johannson since it will bring that essence of story and time to that film. Here the idiom that perpetrated the entire Sam Raimi film is pushed in the background but still rings clear: “with great power comes great responsibility. In trying not to give too much away, Tony Stark, not Iron Man, looms heavily over decisions here…and even perceptions. It is an interesting approach especially when decisions involve “Edith” and aspects of instinct and conscience.
The basic plot without giving too much away is that Peter Parker just wants to be a regular guy and go on a class trip to Europe to tell MJ (played by Zendaya) that he really likes her. While the banter between him and her and, by extension, his best friend and his perspective girlfriend for the trip works in a comic romantic comedy way, the stakes are not that thick, which is alright. The realization is that “Far From Home” nicely plays much lighter than, of course, the “Avengers” films which within their structure have a very dark core while still playing to mainstream structure. Here the threat is paradoxical in a way but one that is unexpected in one way but not in another. During an interview I did with Jake Gyllenhaal for “Stronger” a couple years back, he referenced that he always found it hard to play a superhero (and it seems he had been offered others) that weren’t real per se. That is why the progression here is an interesting exercise (which is all I can say). Any other discussions of heartbreak, destruction, expectation, subversion or transcendence will give away too much but the film does include all of these without becoming too, in a word, tragic. And that is a good thing. Especially when Jon Favreau can bring some fun comic relief without impacting or altering what the story is truly about.
By Tim Wassberg
The texture of “Yesterday” is predicated on a simple idea if one can suspend disbelief in what is actually transpiring. In embracing a diversity structure, the ideal of Hamish Patel as Jack who becomes a leading songwriter after the blinking out of power and earth and him being subsequently hit by a bus sets an alternative history in motion. Films in the 80s did this kind of switch many times without blinking. If one can get past the story of that (there are many other things that change besides the absence of The Beatles but those are on the periphery), then it becomes a fairly cohesive romantic comedy in a way. Balanced between the idea of creative fulfillment and the notion of happiness strikes very real as the film goes on. An undeniable meeting later in the film that acts as a spark point of revelation heightens the heart of the film in an undeniable way but almost seems like a different plane from the rest of the film.
Danny Boyle as a director here does understand the material but interestingly enough Richard Curtis, the writer, who is known for “Love Actually” provides a different access point in terms of the story. Curtis’ strengths blend between relationships with levity and a touch of drama and Boyle sometimes strays towards the darker edges of life. The aspect of his stylistic touches inhabit the beginning of the movie but seem to disappear into the background as the film progresses. The resolution is a foregone conclusion. The different supporting parts listed do well though are sometimes off tone. Ed Sheeran plays himself but comes off simply as a plot ploy more than anything else. Kate McGinnon as his manager via Ed simply mods for the camera while being both chideful and manic in a off-center sort of way. No film yet (save for a bit in “Ghostbusters”) has found a way to channel her correctly. Joel Fry as Jack’s would-be roadie Rocky makes for some funny off-thoughts and character moments like Ewan Bremner as Spud in Boyle’s “Trainspotting”.
The heart of the film is Lily James who works well her but only serves a catalyst for the plot. Her specificity on what she want is very endearing but, there is so much more that lurks below the surface that isn’t truly allowed to brim. However it is Hamish Patel’s Jack who is the focus of the journey and while engaging, his character is more just along for the ride. He may figure it out but the choice elements regarding his path make it almost inevitable. But if you like The Beatles and their music, one can overlook many of the films failings but also enjoy its strengths.
By Tim Wassberg
After “Valerian”, director Luc Besson has been balancing the different essences of life with his company in financial trouble for a short time. Personally he was being attacked because of supposed conduct. And a film that was supposed to be his big return to large film making simply tanked. In personification, “Valerian” wasn’t bad. It was perfectly on par with “The Fifth Element” but made in a different time. “Lucy” right before had shown with the right actress despite a slightly incomplete script that the visceral nature of the director was still there. The biggest issue, not to get too industry about the failure of “Valerian”, is that in the US, STX Films pretty much released it cold with no anticipation. And it failed. With his new film “Anna”, the trailer was phenomenal building up the aspect of a new action girl in Sascha Luss. Besson, despite anything, has the ability to create wonderfully strong female characters while still engaging in the beauty and the world of modeling he seems to love so much. The trailer simply teased one major scene which in retrospect is interestingly enough a lipnus test. “Anna” approaches what “Red Sparrow”tried to do but with a blank canvas and not Jennifer Lawrence. Within this construct, you have no preconceived notions of who Anna is because that is not her name. This is why you can buy more into the idea of it. Now while much of the movie tries to play to certain spy quotients, it is the nature of freedom that rings true even as the film is set right after the fall of the Soviet Union per se. The KGB essence here is interestingly done both in its recruiting but also the showing of Russia right after that fall. It doesn’t go easy on American intelligence either. It almost makes the point that you are under the thumb of power no matter where you are.
Sascha Luss balances this nicely as “Anna” but it helps that she has a couple actors working against her, who despite that their characters are a bit thin and sometimes more of sexual playthings to Anna than actual connections is interesting. It works because it is a reversal of what was the norm 20 years ago. Cillian Murphy plays one of his more mainstream roles and shows a level of charm and cool we haven’t seen on screen from him in awhile. Luke Evans, right off “The Alienist”, creates the right amount of patriotism while understanding this girl he recruited. Anna’s girlfriend in the modeling world creates the right amount of offset in social representation to show that identity is simply a construct depending what you want in life. It is not a criticism on anything at times with either sex except a certain degree of survival and understanding. Helen Mirren has the most interesting role in that of KGB overseer. This is the most hidden she has been with a sense of cunning, humor and drama that sometimes Besson can get out of his actors. “Red” for Mirren was play. Here she is doing some magnified work. Besson still has it. The action sequences are visceral. He can do it with a smaller amount of money but he likes the toys of big film production. The film is fun to watch, plotted decently, stylized cool (watch out for an INXS song montage) and, while not Besson’s best, far from his worse and continually shows his focus for talent. Initially this reviewer thought this might be a retooling or telling of “Matilda”, the child Natalie Portman played in Besson’s “The Professional” as a grown up assassin. A key plot turn in the movie has Sascha wearing a black bob that has harkings back to that character. Alas “Anna” will probably be lost since, for likely reasons, Summit/Lionsgate released it cold. A movie is a movie, even when it is not….that doesn’t make this one any less entertaining.
By Tim Wassberg