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Marvel “Ant-Man and The Wasp” movie review

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fANTastic! Although this installment may lack the grandeur of many of the Marvel Studios films, including the recent Avengers: Infinity War, director Peyton Reed delivers a fun, heartfelt, action-packed movie in the Ant-Man series that is sure to be a crowd pleaser. As someone who doesn’t typically fawn over superhero movies, with some exceptions like Batman Returns, I went into this movie with moderate expectations at best. Needless-to-day, my expectations were exceeded and I had a great time. Perhaps the story is rather shallow and even paint-by-the-numbers, but the straight-forward story is made fun and exciting by the incredible cast. This installment in the MCU is also marked by the significance of the captivating Michelle Pfeiffer’s return to the superhero genre. It’s been more than 26yrs since she wowed audiences with her roll as the definitive Cat Woman, and she still packs a punch during her short time on screen in Ant-Man and The Wasp. Is this a movie that requires a close reading or in-depth analysis? Certainly not. But, there is a running theme of change/size that is both literal and metaphoric. This may not be the at the top of your MCU favorites, but I can honestly state that you will not feel as if your time is wasted if you choose to take the quantum leap into this micro superhero movie.

After the events in Germany, Scott Lang (Paul Rudd) is under house arrest. Dealing with the consequences of being both a superhero and a father, Lang is challenged to still be a loving father to Cassie while figuring out how to continue his role as Ant-Man. Compounding the demands of being a father and superhero, Lang is also working diligently from home to build his security company in order to be the provider he wants for his daughter. Just when he has his routine down, and is getting close to being released from house arrest, he is kidnapped by Hope van Dyne (Evangeline Lilly) and Dr. Hank Pym (Michael Douglas) to help with a mission to rescue Janet van Dyne (Michelle Pfeiffer) from the quantum realm, a result of disarming a nuclear bomb many years prior. The search and rescue operation is thwarted by a ruthless southern businessman and a mysterious new ghost-like adversary. Under the ever-oppressing constraint of time and place, Ant-Man and The Wasp must cooperate in order to protect the quantum technology from falling into the wrong hands that could prohibit Dr. Pym from rescuing his wife.

While the movie, by in large, is pretty basic (solid, but basic), there is a great example of Hitchcock’s MacGuffin! If you’re unaware, a MacGuffin is the object that drives the plot forward, begins the domino effect, but ultimately does little more than trigger the plot. The definitive example of this is the money Marion Crane steals from the real estate office that sends her on the journey that lands her at the Bates Motel in Psycho. Not nearly as macabre, the MacGuffin in Ant-Man and The Wasp is the size-shifting office building of Dr. Hank Pym. Sometimes it was as large as a city block, and other times it was the size of a roller suitcase. In fact, if it isn’t already, I imagine that we will soon see this AS luggage that can be purchased at a Disney Park near you. The theme of size is demonstrated through small objects that become large and large objects that become small. Furthermore, this idea of playing around with size can also be witnessed figuratively through egos. Some egos are inflated–large–and need to shrink down to size or others are barely there and need to grow in order to not be overrun or overlooked. This theme is also displayed in how small people or objects can rise to the occasion, become a metaphoric giant in order to stop those who pose as obstacles to the goal. It is well-known that ants can carry several times their body weight, and we see characters in this film shouldering more than their fair share, but still manage to overcome any resistance or hurdles to accomplishing the mission.

Be sure to state for the mid-credits scene because it will answer the question that has been on your mind, “where was Ant-Man during Infinity War”? There is also a post-credit scene that is cute but won’t provide any further insight into the next Ant-Man or Avengers movie. With the return of Michelle Pfeiffer to the superhero genre, I am excited to see how the MCU will integrate her into the narrative because she possesses a powerful screen presence that should not be under-utilized. Unfortunately, this could mean that we may not get to see her reprise her role as Cat Woman in a future DCEU film, but her beauty and charisma will certainly add a touch of class and strength to the MCU.

While most MCU movies are suitable for all audiences, there is some content in the dialogue that may not be appropriate for those under 13. So parents and siblings, just be aware of this before taking children to this film. It’s not nearly as adult as Deadpool but it leans more toward a teen and adult film more than kids.

Blumhouse’s “Upgrade” movie review

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Black Mirror on crack. That is precisely what Blumhouse’s Upgrade can be likened to. Outstanding commentary on the convergence of humanity and technology that provides many thought-provoking moments. Best known for its horror, this action thriller from Blumhouse will have you on the edge of your seat the entire time. Rooted in classic science-fiction, this thriller will also deliver a healthy dose of dark comedy, heart-pounding action, and acutely shockingly violent scenes. Writer-director Leigh Whannel crafts a brilliant motion picture that is one part vigilante Robocop and another part Dr. Frankenstein’s Monster. On the surface, Whannel’s thriller comes across as a B-movie done well, but it contains prolific content that will likely inspire conversations about the relationship between humanity and technology. Perhaps it was not the intention of Whannel (co-creator of Insidious and Saw) to write a motion picture steeped with commentary on the human condition and a harbinger against allowing technology to fuse with our minds and bodies, but there is certainly material here to discuss those deeper topics. Bumhouse’s Upgrade is certainly a big screen experience, so catch it while it is there!

Set in the not-so-distant future, cars drive themselves, pizzas can be printed at home, and Alexa is built into your house. After dropping off a completely rebuilt 1980s Firebird Trans-Am at a client’s hosue, Grey Trace (Logan Marshall-Green) is left a quadriplegic following a brutal car accident and mugging that also leaves his wife dead. While recovering in the hospital, Grey is approached by a major tech company owner about an experimental surgery that is theorized to enable Grey to regain his motor skills. It worked! Only now, Grey’s realized that he has cat-like agility and reflexes as well as increased strength. With his newfound abilities, Grey seeks to assassinate those he blames for his wife’s death.

Better have an iron stomach in order to watch this thriller, because Whannel prefers shocking moments in abundance. Whereas this film is certainly not a horror–as the intent of the film is NOT to horrify audiences–it certainly contains elements borrowed from horror films in order in increase the level of threat. A director friend of mine from Germany characterized the film has having tones of a John Carpenter movie combined with Drive by Nicholas Winding Refn. Though set in a possible near-future, the cinematography, score, and lighting are quintessential 1980s. No surprise as 80s is en vogue in our movies and TV shows. Grey’s “everyman” character archetype enables audiences to identify with him quickly, thus root for him as he takes the law into his own hands to avenge the brutal death of his beloved wife. It’s the simple revenge plot that enables Whannel to build a complex character delivering dark humor and visceral violence.

Definitely an entertaining science-fiction thriller! If you enjoy TV shows like Netflix’ Black Mirror and movies like Drive, Halloween, Frankenstein, and Robocop, then you’ll certainly like Blumhouse’s Upgrade.

“Life of the Party” movie review

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Positively uplifting! Melissa McCarthy and Ben Falcone’s comedy Life of the Party releasing everywhere today is a quintessential Mothers Day flick that you can take your mom to and enjoy together this Sunday afternoon. McCarthy shines as the brilliant comic she is in this film. Whereas she is typically the brunt of the jokes in the film’s she and her husband often cowrite together, this film provides McCarthy with a platform to truly showcase her talents as a comedic actor who can not only play the butt of the humor but also the vixen who’s captured the eye of a hot frat guy as she sets out to complete her education. McCarthy’s brand of comedy–that authenticity, candidness, optimism–that we have come to know and love, will have laughing and empathizing throughout the movie.

Although themes such as inspiration, determination, and resilience are not uncommon for a comedy, I appreciate many tropes often associated with fish-out-of-water plots were abandoned for something more unconventional yet infectiously charming. Instead of ultimately changing herself for the world around her or changing the world to fit her, she finds her place in the world and creatively directs it to make room for her. Whatever your age, you will likely find yourself connecting with one or more of the characters in this film as it proves that you are never too old to learn something new or complete that which you chose not to earlier in life. From acoustic guitar tunes to Cyndi Lauper and even a surprise performance by Christina Aguilera, the music will have you dancing in your seat. Watch as nervous, scared girls who are afraid of unknown elements in school, grow to become incredible women who form meaningful relationships and heal from tragedy. Each of the principle cast is unique in some way, and it’s these traits that setup conflict and allow the comedy to flow from the conflict naturally. From McCarthy’s Deanna’s endearing vampire-like roommate who low key longs for a friendship to the girl who is also a non-traditional student because of being in a coma for eight years, the film is filled with a colorful cast of likable characters and of course Deanna’s ex and mistress who we love to hate.

McCarthy is joined by comedienne Maya Rudolph and the pair of them dominate any scene they are in together. It never feels overwhelming because they are both saying precisely what you and I are thinking. The two of them exhibit kind of friendship that perhaps your closest friend and you desire to have. Although there is a mild degree of suspense, the film derives most of its energy from the brilliant cast’s reactions to the varying conflicts throughout the film. As there is not much to analyze in this film, you’ll find this review far shorter than my usual ones. But, I desired to write up a piece on it because it’s been largely panned by most critics. Variety and I seem to be among the few who find so much that’s “right” with this film as opposed to what’s “wrong.” Maybe it’s not terribly deep, but it boasts a simple plot with complex characters that provides McCarthy with an opportunity to show a different side to her trademark comedy. With honors!

“Tully” film review

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A no holds barred, unapologetic story of the realities of motherhood. Focus Features’ Tully starring Charlize Theron is a brilliant film that shies not away from what being a mom is truly about during postpartum depression, a subject seldom touched on in film or TV. Directed and written by Juno’s Jason Reitman and Diablo Cody respectively, this film represents the best work of Reitman and Cody since the groundbreaking Juno which was followed up by the outstanding Young Adult, and showcases just how incredibly diverse an actor Theron is. See her in a role unlike her typical roles as she so incredibly authentically brings to life a middle-class working mother who is faced with many obstacles as she rears her three kids, one of which is a newborn. As a male, I cannot begin to fathom just how difficult it is to be a mother (or by extension, a single father); but after watching this film, I have a whole new respect for the many hats that a mom has to wear in order to manage a household. Some might even say that this film is so incredibly effective at laying out the hardships of being a mom, that it may work better than more conventional birth control. However, the film is not only about the trials of motherhood, but it also spends time on the joys. Tully is what I characterize as a dark comedy that has some truly terrifying moments.

Already the working mother of two kids, one of which displays signs of a developmental disorder, Marlo (Charlize Theron) is not pregnant with baby number three, in what her brother identifies as an “unplanned pregnancy.” Marlo’s wealthy brother desires to help his sister by gifting her a night nanny in order to help Marlo through the rough transition of a newborn in an already chaotic house. Marlo’s husband is hardworking, makes lunches, and assists his oldest daughter with her homework, but fails to understand that Marlo needs to be taken care of as well. In order to not go completely insane during postpartum depression, Marlo reluctantly decides that she could use the night nanny that her brother offered to pay for. Hesitant to the extravagance of having a nanny at first, Marlo forms an unexpected bond with the unconventional, challenging hipster Mary Poppins named Tully.

No pretense about this story of motherhood. Cody’s brilliant penchant for self-deprecation, dry humor, and stark naked emotion is witnessed once again in Tully. I cannot think of a present screenwriter that could have created such a compelling story. Unlike her timeless modern classic Juno, Cody shies away from the comedy you may be accustomed to seeing from her, and focus on the darker side of being a mother. And it works superbly. I laughed, cringed, and cheered during the film, and so did many of the others in the audience. There is an authenticity in this story that is seldom seen in other melodramas. Possessing a raw, gritty narrative, Tully will have you empathizing quickly with the struggles Marlo continues to face throughout the film. There is so much that is praiseworthy in this story; but unfortunately the sharp, precision that supports the first two acts becomes a little dull during the realization (or resolution) on the third act–the same chutzpah that was in the DNA of the majority of the movie is not as apparent at the end. What Tully lacks is a well-defined external goal. The weak end game is uncharacteristic of Cody, as both Juno and Young Adult had solid realizations. As I tell my screenwriting students, dealing with life is not a goal (it’s incidental). Still, everything else about this film is effectively compelling.

Theron displays a genuine, uncompromising commitment to character in this motion picture. Aside from the fact she literally put on 50lbs for the role (that’s right, no fat suit), she provides audiences with a fearless portrayal that is both vulnerable and fiery. Coupled with waves of mania, anger, and complete exhaustion, Theron delivers a razor-sharp performance that will leave you breathless and bleeding from the unbridled intensity and emotional rawness. In this slice of life story, there was certainly the room to demonize Marlo’s husband, the sister-in-law, the former roommate, and school principal, but Cody includes these individuals that many moms actually have in their lives but chooses to focus on the physiological and emotional struggle of Marlo as she recovers from her unplanned pregnancy. Of course, there is a brilliantly funny scene of Marlo confronting the pretentious private school principal. It’s the kind of encounter that many of us want to have with those who refuse to shoot straight and annoyingly avoid confrontation because they are so afraid to be candid, and it just comes off as a facade. Theron’s ability to completely sell a mother on the verge of a breakdown who’s constantly facing situations in which she asks herself how-the-hell-am-I-going-to-get-through-this is unparalleled. I cannot think of another movie that has a character quite like Marlo in Tully.

The film’s title character is a Mary Poppins of sorts that comes to the aid of Marlo when she is at her wits’ end. You may be wondering why the film is named after the night nanny instead of Marlo. For the same reason Mary Poppins is the name of the story that is really about Mr. Banks. Marlo may be the central character, but Tully (Mackenzie Davis) is so incredibly instrumental in supporting Marlo through this time. Furthermore, she opens her mind to new possibilities and the joys of being a mom, even when Marlo isn’t feeling it. Tully embodies that free spirit that many of us have or had in our 20s that somehow gets lost as we get older. Tully enables Marlo to channel her younger self in an effort to be emotionally healthier for her kids. Taking care of yourself first so you can be there for your kids, is one of Tully’s many messages to Marlo. There is a whimsy about Tully that is contagious, and will put smiles on the audience’s faces amidst the majority of the film’s darker moments.

You’ll encounter all the different kinds of people that an emotionally struggling mom has to deal with on a regular basis. From an out-of-touch snobby sister-in-law to a husband who just doesn’t get you, from a pretentious and absurdly conflict aversive school principal to a former roommate, the film provides commentary on how each of these kinds of relationships affect a mom who’s trying her best to keep sane and not murder everyone. The film even touches on how having a kid with a developmental disability is physiologically and psychologically draining, even though you love your kid unconditionally. It’s important to note that Marlo’s husband is shown to be an active participant in his family by way of, not only his financial support, but being there for his kids in the evening and helping to make lunches. However, he does withdraw to playing video games after the kids have gone to bed; but that’s because he is like many fathers that are unaware that their spouses need to be comforted, cared for, and shown appreciation during this rough transitional time. Hopefully, after watching this movie, fathers will have a better idea of what their spouse may be going through. One of the strongest themes one can write into a film is a commentary on what it means to be human–the human condition–but seldom has a film been so specific to comment on what it means to be a mother. In this respect, Tully is provocatively groundbreaking.

Such a perfect film for the upcoming Mothers Day weekend. Even if you are not a mom or (let’s not forget) single father, there is something to learn from this film because you may have a mom or single father in your circle of friends or family. Never before has a film stripped away all the magic of motherhood at the time when your kids are little. No frivolous, ostentatious gender reveal parties, gym moms-to-be, or ridiculously lavish baby showers for this mom. Why? Because those are events and experiences typically found on Pinterest, in the movies, or reserved for upperclass society that is hasn’t a clue what it’s like to be a struggling mother balancing her full-time career and being a full-time mom. Tully tells it like it is for so many, and why it is such an outstanding motion picture.

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

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“A Quiet Place” horror film review

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Heart-pounding. Spine-chilling. A creepy creature-feature that will leave you speechless. The demonstrable excellence in terrifying visual storytelling can effectively be summed up by the queen of silent film herself Norma Desmond, “we didn’t need dialogue, we had faces” (Sunset Boulevard). A Quiet Place truly earns its place among “certified fresh” horror films. Not since Don’t Breath and 10 Cloverfield Lane have I encountered such a thrillingly intelligent motion picture. Writer-director John Krasinski’s post-apocalyptic horror masterpiece showcases the power of visual storytelling within the horror genre. Furthermore Krasinski brilliantly channeled the soul of the iconic (mostly Universal Pictures) silent and early horror films for his modern interpretation of the creature-feature. No gimmicks here. Only a solid plot that builds an incredible, immersive cinematic experience upon the foundation of a simple plot with simple limitations. Simple plot, complex characters. That basic screenwriting principle is where so many filmmakers and writers go astray. Film is a visual medium, often supported by well-crafted, lean dialogue, and this film has visual storytelling in spades. This film represents one of the best examples of embracing the concept of “show don’t tell.”

Shhhh. Don’t make a sound. One family finds themselves surviving a post-apocalyptic world now inhabited by an alien species that hunts by sound.

There has certainly been a resurgence of exceptional horror films over the last few years. I mentioned Don’t Breath and 10 Cloverfield Lane earlier, we also have the Academy Award nominated Get Out from last year and many others. While many may shrug their shoulders at horror because it is a proliferated genre with many cheep, tawdry horror flicks, this same genre can be incredibly intelligent in how it makes an observation of society and offers commentary, a new perspective, or provides a means to a discussion. Some of the most critically acclaimed films over the decades have been horror. Being among the first films commercially released, horror has also stood the test of time and provides audiences with a experience that challenges worldviews, provokes physiological responses, and fuels nightmares and imaginations.

One of the most brilliant aspects to A Quiet Place is the film’s innate ability to instantly hook the audience with loud silence. Going into the movie, audiences know that the arachnid-like creatures kill anything within an earshot. Therefore, the audiences hang onto every bump, snap, or thud as the tension rises and suspense is drawn out to terrifying levels. Impeccable audience engagement. It takes a special kind of movie to completely immerse the audience into the world of the film in a multidimensional way. In terms of viability of the film and cross-promotion, this movie certainly has what it takes to be a popular and successful adaptation for a house at Universal’s Halloween Horror Nights or Busch Gardens’ Howl-O-Scream. Definitely has a place among the best horror film experiences to date.

The successful suspense and tension building can be attributed to seldom getting a good look at the alien-arachnid-like creatures. Had the audience seen the creature repeatedly throughout the film, it would lose fright value. As Hitchcock stated, “there is nothing scarier than an unopened door.” Meaning, the filmmaker’s ability to transfer the terror on screen to the minds of the audience is far more powerful and impressive than relying upon on-the-nose scares and jump-scare gimmicks. Well-crafted suspense and rising tension carries far more weight, and has the ability to support a narrative so much more effectively than a cheap scare. Although the atmosphere in this film may remind you of Don’t Breath, and rightly so, Krasinski’s film does not quite measure up to the macabre, terrifying atmosphere that Fede Alvarez provided audiences; however, Krasinski’s A Quiet Place is extremely close to the aforementioned and deserves the accolades that it has received.

In terms of how to closely read A Quiet Place, the film provides exceptional social commentary on the perils parenting and, by extension, protecting one’s offspring. In fact, I imagine that the experience for parents watching this film exceeds the levels of terror felt by those of us who do not have kids. There is also plenty of material on how far a parent is willing to go in order to protect their children. I also appreciate the film’s commentary on expected mothers, and how they stop at nothing to protect their unborn child from that which seeks to do it harm. Responding to and working through grave tragedy is another heavy and shocking subject matter in the film. We all respond to death differently; many of us grieve differently than one another. Some bottle up all the negative feelings for fear of how to deal with them, and others blame themselves because they feel that there is something that could’ve been done differently to protect a lost loved one. On a lighter note, the film also provides metaphor on how to work with and handle your older kids when they seek to push the boundaries–boundaries that may be dangerous and place them in harm’s way. There is so much here to talk about, and I have just touched on the surface. That is why horror is the best genre for creatively exploring psycho-social constructs and other observations about humanity and the world in which we live.

Quietly make your way to your seat in the auditorium. A Quiet Place is definitely a film to be experienced on the big screen with a theatre full of others who seek to be frightened. Enjoy the refreshing originality of a film that could have so easily went by way of so many other creatures features that lack anything memorable, and just blend into the background with countless others in this subgenre of horror. It may not have the well-defined external goal and end game of Don’t Breath, but it is certainly exciting and fun! You’ll certainly be absorbed into this terrifying post-apocalyptic world, where YOU are afraid to go bump in the night.