Tag

Score:  B+

Directed by Jeff Tomsic
Starring Ed Helms, Jon Hamm, Jeremy Renner, Annabelle Wallis, et. al.
Running time: 100 minutes
Rated R

Long Story Short:  Tag is an ensemble comedy about adults acting like children; or at least, keeping the competitive fires of their youths alive via the ongoing game in the title.  Ed Helms capably leads a great cast, and the premise allows them to engage in not just verbal sparring but also some nicely- (and hilariously) choreographed physical matches.  It's a bumpy ride at times for both performers and audience, but it's well-made overall.  Recommended.


An HR supervisor interviewing candidates for a custodial position is surprised when he finds a man with a veterinary PhD begging for the job.  Why does "Hoagie" (Helms) want this job so badly?  So that he can get close to the CEO of the company, Bob (Hamm), to... tag him "it".  May has arrived, which is the month that a group of now-middle-aged men reconvene to continue a game of tag that they have kept going since childhood.  A reporter for the Wall Street Journal, Rebecca (Wallis), who was interviewing Bob about his company, sees the intriguing alternative story this situation promises, and tags along.  Soon Hoagie, Bob, "Chilli" (Johnson), and Kevin (Buress) join up and descend on the hometown of Jerry (Renner), who has never before been tagged "it" and is set to be married in a few days.  Does the group have what it takes to finally tag Jerry - and at what cost?

Tag has an ensemble cast loaded with comedic talent, from both familiar and surprising sources.  Ed Helms is at the head of this group, fittingly, as he's the most well known for his funny roles.  His character differs little from what you've seen him in before, but it's perfect for this film about adults playing tag: joyful and naive, and at times either petulant or warmly earnest.  He has this role locked down - he could probably do it in his sleep, but he's fully invested here and is engaging throughout.  His most significant partner-in-play is Jon Hamm's Bob, who despite having become a Man Men-like executive still has a sense of mischief.  He's proved his comic chops plenty of other times, such as goofy TV roles in 30 Rock and Kimmy Schmidt, and he's fun here, too, although he sometimes has trouble with the tricky tonal balancing act the film demands.  Jake Johnson's Chilli and Hannibal Buress's Kevin are secondary, but both of their presence's are welcome.  Johnson is the group's stoner, an exaggerated version of his New Girl role, and delivers most of the edgiest humor (effectively, for the most part); Buress gets the smallest role, but his sober, bemused Kevin provides much-needed balance for the cast.  Jeremy Renner is the least known for his comedy, but again it's appropriate since his Jerry takes the game of tag deadly serious.  He is still funny, but mostly through the way he utterly (and convincingly, physically) decimates his friends in action.  Tag also has impressive female actors - Annabelle Wallis, Isla Fisher, Rashida Jones, and Leslie Bibb, but sadly they are all bit parts (Fisher and Bibb do quite well, anyway).

Tag is a mainstream comedy with a refreshingly original and intriguing premise; the quality is a bit uneven and the tone zigs and zags, but most importantly, it's pretty darn funny.  Big comedies can often be sort of plug-and-play: cast a megastar or ensemble, and rely on their performances to lift tired if reliable storylines.  Fortunately, Tag is considerably more clever than that, based on the real life story of adults who play the children's game.  Perhaps because of this, it takes a little while for the script and the performers to find their footing - though it likely took me, as a viewer, some time to adjust, too.  Once the whole group is together and the plot underway, though, it runs more smoothly.  The humor is very good, though not quite elite, both in the writing and the acting.  It relies on both physical slapstick and improvised banter, which provides crucial variety.  A scene at a pre-wedding party with Hamm, Helms, and company skillfully one-upping each other makes way in the next for riotously (though intense for the characters) choreographed tag battles (Helms disguised as a grandmother going one-on-one with Renner in a mall is the highlight of the movie).  Much like The Hangover, this film also pushes the envelope at times with its humor - sometimes it works and sometimes it doesn't.  This is in contrast with a more sentimental tone that runs through the film, too - though it is anchored by an oft-repeated but effective line - that also is hit-or-miss.  But the movie resolves this tug of war the right way at the end, I believe, with an interesting twist that emphasizes the group's friendship and still allows for a little more play, too.

***

Tag is one of the bigger mainstream comedy successes of the last few years, and I hope Hollywood makes more in its mold.  Most importantly, take chances with some new, even bizarre ideas, and don't just rely on the reputations and abilities of the star performers.  The unique circumstances and scenes that this will create (as it did in Tag) should also take pressure off the writing, which is so often painfully bland, cliched and/or just not very funny.  It's worth repeating a warning here that this is not exactly a gentle little comedy, but I would argue the film overall has its heart in the right place and none of the humor is mean-spirited.  Give it a try, and I hope there's more like it to come this year.




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Incredibles 2

Score:  B+

Directed by Brad Bird
Starring Craig T. Nelson, Holly Hunter, Bob Odenkirk, Samuel L. Jackson
Running time: 118 minutes
Rated PG

Long Story Short:  Pixar's latest is a sequel to its incredibly popular superhero story from fourteen years ago.  The whole Parr family is back, with Helen/Elastigirl taking the heroic lead while Bob/Mr. Incredible looks after the home front, including its new star, baby Jack-Jack.  While it's made with the studio's typical high quality and has a few standout scenes, Incredibles 2 lacks the creative juice that powers its kin.  Highly recommended for families, but it's optional for others.


The world's most incredible family, the Parrs, are still at it, doing their best to fight crime with their super powers.  After the family fails to capture a villainous master mind, though - and leaves quite a mess in their wake in doing so - the government is no longer willing to tolerate the damage done.  Fortunately for them, not everyone agrees.  Winston Deavor (Odenkirk), a technology tycoon, is a big fan, and is convinced that if people see exactly what it is that heroes do, public opinion will turn in their favor and allow "supers" to operate in the open again.  Equipping her with a personal body cam, Winston selects Helen (Hunter), aka Elastigirl (the least "messy" of the heroes), to serve as a symbol for his plan.  While Helen generates positive headlines battling a new evil force who hypnotizes his victims, Bob (Nelson), or Mr. Incredible, has his hands full at home with the children, including a difficult to control baby Jack-Jack.

All the favorites from the original are back in the Incredibles 2, along with some intriguing new characters.  Holly Hunter's Helen/Elastigirl gets the featured role, at least when it comes to the superhero parts.  She is a strong, tenacious, determined crime fighter, though the film doesn't really delve too deeply into her character.  Helen clearly relishes the return to her old life and the adulation it produces, while time spent on worrying about the family (a common theme when mother characters return to their previous work) is refreshingly minimal.  Craig T. Nelson's Bob gets the harried, single stay-at-home parent role here, producing some good humor.  Among the children, Sarah Vowell's Violet gets a fairly substantial side plot dealing with her crush, though brother Dash (Huck Milner) just, well, runs around a lot.  It's baby Jack-Jack who is truly the featured family member here, bringing a new level to the challenges of infant care as his powers emerge without any ability to control them.  Bob Odenkirk's Winston is pleasantly cheerful and optimistic, coupling well with his clever, more grounded sister, Evelyn (Catherine Keener).

Incredibles 2 has Pixar's typically high overall quality to it, yet it lacks the unique creative spark and consistent cleverness that has distinguished the studio's best efforts.  In fact, I found this sequel more beholden to its status as a general, family superhero movie than to the spirit of a Pixar film, whose subgenres tend to be secondary to the core, universal stories and themes.  Certainly, this is still a very fun family adventure movie.  Elastigirl's solo missions in particular are quite thrilling; via animation, it's capable of bigger stunts than even the biggest Marvel films.  Baby Jack-Jack's wild outbursts are also entertaining, and serve as an interesting contrast: where Elastigirl is in complete control, Jack-Jack is completely unpredictable.  His opening outburst - featuring a fierce battle with a raccoon - is my favorite part of the movie, both for the novelty and charm of his powers and innocent glee as well as for its classic, trademark Pixar cleverness (which somehow almost always involves an animal).  But there is much in the film, too, that is unusually derivative for a Pixar film, or merely flat and uninspired.  The movie's main twist - you know there's going to be one - is staring you in the face (and I fully admit I don't figure out most twists ahead of time) from the outset, and the climactic scene both goes on far too long and is not very fun on account of rehashing much of what we've already seen as well as being - again - too predictable.  There are interesting moments here and there throughout the film, but it doesn't all come together with the same drive you expect from a Pixar film.

***

Incredibles 2 is another enjoyable movie from Pixar, and a perfectly fine choice for a night at the movies - but not absolute essential viewing, like some others.  Some of the only Pixar films I've never seen are the Cars trilogy - they just seem to me like pure family fare, without the universal appeal of their other titles.  While I wouldn't say Incredibles 2 is entirely like that, it is somewhere in between.  It also rankles me a bit to read critics deriding all other superhero films as dumb and tired out while praising this film.  I would argue that Incredibles 2, with its lack of anything new to add or say about the genre (whether straight or parody), if anything proves Marvel's genius at keeping itself remarkably fresh.  Anyway, the main audience for this Pixar film is families, and I would recommend Incredibles 2 to them without hesitation.  If you're coming to it as an adult Pixar fan, though, you may not be quite as satisfied.




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Ocean's 8

Score:  B

Directed by Gary Ross
Starring Sandra Bullock, Cate Blanchett, Anne Hathaway, Helena Bonham Carter, et. al.
Running time: 110 minutes
Rated PG-13

Long Story Short:  Ocean's 8 is the fourth film in the heist franchise, the first in more than ten years and, more significantly, with an all-new cast of female stars.  The roster overhaul is mostly successful, led by rock-solid Bullock and Anne Hathaway stealing the show.  The innovations don't go as far as you might expect, but the formula still works well.  Recommended (especially those looking for fun outside the space-and-superhero hordes).


Debbie Ocean (Bullock), the sister of famed heist master Danny (Clooney), shares some of her brother's strongest impulses: proving her ability to do anything she puts her mind to, and exacting revenge on those who have wronged her.  After being released from prison, Debbie is a woman on a mission.  She meets up with a longtime friend, Lou (Blanchett), to seek her help in planning and executing a heist that would impress even Danny.  Due to the magnitude of the job, Debbie finds that she has to look beyond eager and willing friends like Amita and Tammy (Kaling and Paulson) to unknown experts in their field, as well as other key allies when things don't go as planned.  But while technical plans fall into place, Debbie realizes that her equally strong desires for riches and revenge may not be fully compatible.

Like its predecessors in the Ocean's heist movie franchise, the latest edition is packed with famous faces - this time, of course, most of them female.  Sandra Bullock takes over for George Clooney as the lead, appropriately playing his sister, Debbie.  Bullock was an excellent choice for the role: not only a very strong actress in general, she also already has plenty of experience with both lighter, funnier roles as well as dramatic leads.  The introduction is where she really gets to shine, displaying a supremely confident and competent (if also ruthless) personality; she easily has the stature necessary to lead what you know will be an epic heist.  Unfortunately, she gets largely drowned out in the sea of other characters by midway through, but her parts are still effective and central to the larger story and tone.  Cate Blanchett is ostensibly the co-lead, but she never really emerges; in fact, she's probably the most dispensable part of the cast due to the script.  Instead, it's Anne Hathaway's star actress Daphne who transforms from witless victim into the most intriguing and entertaining character.  At first she plays the part as stereotype (amusingly at that), but in the film's best twist, becomes deeply involved and reveals far more complexity, including a delightfully mischievous mind.  Helena Bonham Carter gets the next most notable role, as an overwhelmed fashion designer, on the team, particularly in her scenes working with Hathaway.  Paulson, Awkwafina, and Rihanna each draw a few chuckles in small and/or plot-device roles.  Last mention goes to James Corden, who enlivens much of the final act with one more dose of much-needed humor.

Ocean's 8 doesn't quite get to the thrilling, showmanship heights of the original Ocean's 11, but it is a well-made reboot with a few highlights.  This sequel doesn't try to mess with the formula, so the two key ingredients remain the same:  a dynamic ensemble, both individually and via relationships, and clever and exciting heist scenes.  The film does a solid job with both of these, though having seen my share of similar films, there are only a few standout elements here.  The cast is fun, as described above; Bullock, taking the "Clooney role" is very good, while Blanchett in the "Pitt role" is a non factor.  The special part here is Hathaway, whose performance rises to the challenge of her character's transformation.  She is the film's most effective symbol, of a female caricature becoming actualized, moving from plot device to a formidable force as an individual.  The heist itself is fun, too; in particular its setting - the Met Gala - not only with its variety of cameos but more the overall mocking take on celebrity culture.  There is not much sense of there being a challenge to it all, though; sure there are a few obstacles that get thrown in, but they are all overcome quickly and with little trouble.  Perhaps it would have helped to develop a good nemesis, like Ocean's 11's Andy Garcia; Bullock's ex is a very, very hollow substitute if he was meant to be one.  Although there isn't a lot here to separate it from its predecessors, Ocean's 8 has good pacing and is enjoyable throughout, wisely wrapping up well short of the two-hour mark.  Bookended with Bullock's great introduction and Corden's hilarious investigation, the main story in the middle develops smoothly and produces enough laughs and/or tricks to keep you well amused.

***

Ocean's 8 is a welcome addition to the summer 2018 movie season; while not a classic, it's perfectly fine and quite enjoyable.  And if you're not a fan of the action blockbuster franchises (while I don't see how that's possible, personally, I do acknowledge that there are those of you out there), this is a particularly good alternative to those.  Yes, it's part of a franchise itself, but obviously a much different kind of franchise, and one with zero relevant connections to other films.  It represents another step in the right direction for Hollywood, with its female-emphasized cast, if a timid one within a familiar formula and franchise.  Still, progress is progress.  I suggest giving this a try, to a wide variety of audiences, and we can hope that the progress continues in whatever comes next.



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Solo: A Star Wars Story

Score:  A-

Directed by Ron Howard
Starring Alden Ehrenreich, Emilia Clarke, Woody Harrelson, Donald Glover
Running time: 135 minutes
Rated PG-13

Long Story Short:  Solo is the fourth new Star Wars film since Disney took over the franchise, and despite a number of challenges, it is quite a fun summer romp.  This is about the origin of Han Solo, perhaps the most popular Star Wars character, and the new guy, Alden Ehrenreich, gives a fun (and familiar, but not imitative) take on him.  Although the film changed directors midway through, the script and story hold together just fine in a more grounded (literally) and less epic film than its SW kin.  Worth the trip to the theater, especially if you already like the character/franchise.


On a polluted, despairing world in a galaxy far, far away, a young man named Han (Ehrenreich) steals for crime lords to get by.  Having just obtained a small but extremely valuable treasure, he decides to make his break for freedom with his partner, Qi'ra (Clarke).  Their escape does not go as planned, however, and Han is forced to turn to the ubiquitous Empire for employment.  A rogue at heart, Han cannot submit to the absolute control required by the galactic overlord.  He again flees the restraints of organization, this time with a new, hairy accomplice at his side.  Although now facing more danger than ever before, Han thrills at his new freedom as the the new characters in his life range from fleeting hazards to long-time allies - and thorns in his side.  His new freedom also gets him involved in a fierce battle at the heart of the galaxy, and it's up to him what part he will play.

Solo has an interesting cast, with familiar characters but new faces, as well as an impressive array of all-new roles.  Alden Ehrenreich steps into the famed boots of Han Solo, one of the most beloved characters in film history, and does an admirable job.  It does take some time to get used to him in Harrison Ford's place, but he makes good on the promising talent he showed in 2016's Hail, Caesar!  Alden hits a nice balance of picking up on the spirit of Ford's Solo and a few of his physical quirks, while not trying too hard to imitate.  His Han is quite a bit more talkative, but it makes sense both because he's the main character here, and because in this origin story, he has the devil-may-care attitude without yet the cynicism and wariness borne of experience.  Emilia Clarke is well-cast as Han's friend (and more) from childhood, Qi'ra.  Perhaps the film's most mysterious character, she is able to shape shift effectively, sometimes within one scene, while maintaining integrity as the same woman.  Donald Glover gets the most colorful role as the new Lando Calrissian, a limited (appropriately so) yet fun presence.  His character also shows different faces, from care free smirking to penetrating, calculating gazes; although he thinks he's always in control, he's also able to adapt to changing situations.  Woody Harrelson is a more straightforward character, a veteran smuggler who is a sort of mentor to Han as he begins to make his way in the galaxy.  He's overshadowed a bit, but I found his presence quite welcome as usual.  Chewbacca, Han's faithful partner, also gets a little more to do here than in the other Star Wars films, and there are a number of intriguing smaller parts, from Lando's headstrong, sassy droid L3-37 (voiced by Phoebe Waller-Bridge) to Thandie Newton's Val, Woody's sharp, capable wife and partner-in-crime.

Solo is a well-made and very entertaining film, less ambitious and spectacle-filled than its Star Wars counterparts but still very much a part of that universe.  Obviously, if you haven't seen the other Star Wars films (the originals), you won't get as much out of this one, though the Ford-to-Ehrenreich transition will be less jolting.  One of the best things that Solo does, however, is make the larger Star Wars connections creatively enriching, rather than bogging it down obligatorily.  There are plenty of small things - how Han got his name, met Chewie, first saw the Millenium Falcon; these bring a smile to fans' faces, but also fit cleverly and neatly into the story.  The story is also mostly - and blessedly - free of the tired Rebel plotline, though there is a brief, interesting connection.  There is some surprising character depth as well.  Han wears his "Solo" moniker with pride, yet he is virtually never by himself; while he is an independent, often unpredictable character, he needs others in his life, whether as friend, adversary, or both (plus, it just makes the film more interesting that way).  Focused on Han, Solo is an adventure film that often feels more in the mold of Indiana Jones (not surprisingly, another Ford role) than Star Wars, particularly in a fast-paced train heist and intimate duels with villains.  There is good space action, too - the film does not forget Han's talents as a pilot - especially in a thrilling, inventive enactment of the famed Kessel Run.  Ehrenreich's Han has good comedic timing, too, and the film is sprinkled liberally with humor from everyone from Harrelson to the droids.  The film's pacing is sometimes poor (likely due to the significant reshoots and change of director), and it's a bit too long, but if you're watching it in a theater this isn't too bad.  Yes, there's some sequel set up here, but not distractingly so, and the climax is refreshingly restrained and the resolution less important than the journey itself.

***

Solo is a perfectly good summer blockbuster film, one that will at least whet your appetite for some good action while still being good filmmaking.  Of course, you'll get significantly more out of the movie if you've seen the other Star Wars movies, a trend that's increasing with these mega franchises, Avengers Infinity War being a perfect example.  It's too bad that many seem to be passing up on Solo; despite a quality 71% Rotten Tomatoes score, its box office has been underwhelming.  I'd say it's worth a shot - even if you're worried about "Star Wars fatigue", as Episode VIII came out just six months ago, this is a significantly different film and, in some ways, a better one.  I also liked it better than the other one-shot Star Wars movie, 2016's Rogue One.  It's been an up-and-down summer at the movies so far this year, but there are some more intriguing films coming up soon (and not all blockbuster action movies, either!) so stay tuned.



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Deadpool 2

Score:  C+

Directed by David Leitch
Starring Ryan Reynolds, Josh Brolin, Julian Dennison, Zazie Beetz
Running time: 119 minutes
Rated R

Long Story Short:  Ryan Reynolds returns as the most R-rated superhero out there in Deadpool 2, a fun movie that's ultimately overloaded.  The title character gets swamped a bit by the tide of new characters, none of whom come near matching his star power.  The same smirking attitude and humor is here, but also a jarring dose of sentimentality, too.  You can wait for Netflix for this one.


Wade Wilson (Reynolds) has fully embraced his odd new life as the mercenary Deadpool, kept (somewhat) grounded by his relationship with Vanessa (Baccarin).  That is, until he fails to take out a target who exacts a devastating revenge on the merc with a mouth.  The disconsolate Wade is then paid a surprise visit by his old frenemy, Colossus, a member of the X-Men.  He persuades Wade to join them, both to move past the tragedy and to put his powers to a better cause.  Soon, the two discover a literally fiery young mutant named Russell, and a return to Wade's bloodier habits lands both of them in jail.  Meanwhile, a mutant from the near future travels back to the present to try to prevent his own tragedy from ever happening - placing Wade and Russell directly in his deadly crosshairs.

Deadpool 2 returns several cast members from the original, and also introduces a new, hit-or-miss batch of characters.  Ryan Reynolds is once again the lead, Wade Wilson/Deadpool.  He seems tailor-made for the role, much like his fictional hero Hugh Jackman/Wolverine.  Wade is defined by his dark, sarcastic sense of humor, and though he is often callous and quick to violence, he also has a softer side, at least for those closest to him.  Reynolds performance, perhaps the best part of the original film, gets swept up a bit here, though: both by the film's even more ridiculous, over-the-top plotting and a simultaneously larger focus on his character's "development".  The young mutant Russell is played by Julian Dennison, and the role ranges from dully cliched (mostly) to jarringly poor (at times).  Intended to be an intense kid, due to institutional abuse as well as bullying thanks to his powers and large size, young Julian simply can't muster anything beyond a perpetual scowl and endless yelling; there isn't anything else there.  Josh Brolin is solid and convincing as a tough, bounty hunter-type, but the script offers him little of interest and so his talent is mostly wasted.  Zazie Beetz's "lucky" Domino, a Deadpool ally, gives a little shot of energy here and there, but there's clearly a lot of potential left on the table.  Cab driver Karan Soni gets a few nice moments again here, but fellow returnees T.J. Miller (apathetic bartender) and Leslie Uggams (blind, raunchy co-tennant) aren't nearly as good this time.

Deadpool 2 is an entertaining film, relying on strengths from the original - absurdist parody of the superhero genre, Reynolds as Deadpool - but it's overstuffed too, leading to both incoherence and a watered-down quality level.  As revolutionary as the original film was, it was also fairly simple and straightforward.  Now that much of the viewing public has gotten to know the unusually violent and lewd Deadpool, the filmmakers decided to give him a much larger canvas to work with (sadly, not the Bob Ross variety as in the hilarious teaser video).  Two major problems emerge.  First is an attempt to actually insert some sincerity in Deadpool as a protector - even father figure - for the young mutant.  I already described the disappointment of Russell himself; additionally, it's just too jarring a tone change and too much time and energy are dedicated to it.  Second is the idea of the X-Force, Deadpool's own hapless "Avengers"; I understand the desire to poke fun at that other mega franchise, but it just ends up taking too much time and focus away from Deadpool himself, with little ROI.  The overall quality also takes a hit in this sequel, as they try to reproduce many of the popular moments from the first, such as Deadpool "regrowing" on the couch next to his oblivious roommate - along with all of the new stuff - and it's just not nearly as clever or well written.  Even with all of these gripes, it's still a generally fun time at the theater.  The early parts are some of the best: the credits sequence is even better this time, and even before that, there is a hilarious fake trailer with an A-list comedian.  There are some good action scenes - particularly a rescue mission/car chase through a city - and yes, it's still funny, just at a lower, more generic level.

***

Deadpool 2 serves as one of the bigger disappointments so far this year, if mostly because the original was so fun.  Ironically, it falls for one of the most common mistakes of the very blockbusters it parodies by overreaching (or maybe it did so on purpose?  If so... why?).  One can forgive the overall step down in script quality, but the two major mistakes listed above - conscious choices - are puzzling, as they defy/dilute the very strengths of this franchise.  Yes, a little bit of earnestness and/or hero tone is fine, and probably required to prevent these films from getting too cynical or nihilistic.  But the amount of it in here - and the lazy way it's done - just doesn't fit at all with the character or tone of the film.  And keep the secondary characters to a minimum - Deadpool is the star attraction, and the film easily gets lost without him *always* being at the center of events.  As if I even need to say it at this point, this kind of movie isn't for everyone (violence, language, etc. etc.); but even when it is, keep your expectations in check if you do go to see it.



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