Zombieland: Double Tap

Score:  B+

Directed by Ruben Fleischer
Starring Woody Harrelson, Emma Stone, Jesse Eisenberg, Abigail Breslin
Running time: 99 minutes
Rated R

Long Story Short:  The most sarcastic but deadly zombie hunters are back for more in Double Tap, a sequel to 2009's surprise hit Zombieland.  It can't capture the same freshness and lighting in a bottle of the original, but it doesn't really try.  Instead, it leans on the reliable core cast and adds some welcome new faces to the mix in a simple story with much more thought for detail than the usual sequel.  Recommended for fans of the original, and anyone looking for action-comedy entertainment.


Intrepid survivors of the zombie apocalypse Tallahassee, Columbus, Wichita, and Little Rock (named for their hometowns) have gotten the hang of their new environment, and move into a long-abandoned White House.  While still close as a group, Wichita and Little Rock - practically sisters - decide something's not right, and take off one night.  But Wichita soon finds herself dumped as well, after the pair meet a charismatic new guy promising sanctuary, a promise Wichita doesn't believe.  She comes back to her old friends for help, and they set off in search for Little Rock - but find the landscape has changed, with new residents both living and dead.

Double Tap has a large cast - surprisingly so, considering it's the apocalypse - but both the returning and the new faces are pleasant presences.  Woody Harrelson's Tallahassee is arguably the focal point of the four returning stars, still an unabashed hillbilly whose bark belies a soft center.  He becomes a bit more a leader here (relatively speaking), particularly in his guardian-like role with Little Rock.  He still has plenty of put-downs for Columbus, but even here he pulls back some.  Harrelson clearly takes great relish in the role again, and is key in giving the film a laid back feel.  Jesse Eisenberg's Columbus and Emma Stone's Wichita engage in a surprisingly ordinary relationship, despite the desolation and danger around them.  Eisenberg gets a more active part here, though he's no longer top dog, and Stone seems to just be enjoying hanging out with her goofy pals again.  Breslin's Little Rock has her own story this time, although relatively little screen time considering its importance to the main plot.  She's the least recognizable of the originals, but maybe that's because we didn't really get to know her the first time.  Along for the ride this time is a fun group of newcomers, generally playing either doppelgangers - or polar opposites - of the main cast.  Zoey Deutch gets the biggest role as Madison, Wichita's opposite as a dumb blonde.  She's also literally a competitive opposite, vying for Columbus, and Deutch's performance along with a clever script gives the film an important jolt early on.  Luke Wilson and Thomas Middleditch are basically Tallahassee and Columbus clones, and the film plays it knowingly.  They're not around long, but they mimic their counterparts well.  Avan Jogia and Rosario Dawson also appear, as a community hippie and Elvis hotel manager, respectively; mostly they're plot devices, but Dawson is an appropriately formidable presence.

The Zombieland sequel is among Hollywood's better attempts at a follow-up to a surprise hit; it doesn't aim too high but it hits its marks pretty accurately.  As irreverent and self-aware as the first film was, the sequel is even more so.  The first few minutes are basically the trailer for the film; slo-mo zombie takedowns and a house-warming White House montage (the latter of which would have made a pleasant surprise, but oh well).  Fortunately, the story kicks into gear before long, and splits in the team - both geographically and emotionally - are well conceived.  Still, it's the first newcomer who makes the film feel distinct from its predecessor.  Madison's bimbo-ness stretches the silliness of the tone without breaking it, but she also fits into the more dramatic character dynamics, too.  While Little Rock is on her own, somewhat bland path (although the parody on apocalyptic haven tropes is broadly funny), the new Gang of Four gets more fun.  There are new zombie foes, from super deadly "Terminator" drones to harmless "Homer" dolts.  And the meeting of Tallahassee and Columbus and their clones is a highlight, from a dorky/hilarious rules competition to an exciting zombie battle.  After that, the action proceeds fairly predictably to the end, although there are still some glorious moments of fun to be had.  The film runs its course not much over an hour and a half, and that's just about the perfect amount of time to spend reconnecting with these old friends.  But stay for the credits, or you'll miss what's possibly the best part!

***

In a sea of sequels, Double Tap is definitely well above average, particularly among 2019's largely disappointing offerings.  It's been a modest success with both critics (68% on Rotten Tomatoes) and audiences ($27 million opening weekend).  Along with sequel fatigue, it's probably also partly a result of this being the tail-end of the zombie phenomenon; even The Walking Dead is fading away.  But it also does a lot right: it's been ten years since the original, so we're ready for another taste of what was a successful formula.  And it introduces some fun new characters and a few clever ideas/ gags, while resisting the urge to go overboard and lose the spirit of the first film.  If you enjoyed the original, definitely see this; it's a summer-like action comedy treat right in the middle of fall!




* By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=59805887

Joker

Score:  A-

Directed by Todd Phillips
Starring Joaquin Phoenix, Robert De Niro, Zazie Beetz
Running time: 122 minutes
Rated R

Long Story Short: Joker is a film showcasing one of the comics' most famous villains, illustrating how he came to be.  Phoenix's interpretation of this old standby is a worthy addition, and he keeps you on edge the whole time.  Controversy has erupted over its violence and other themes, but I would argue it's earned a valid, thoughtful discussion of a variety of topics.  Be prepared, but also don't be afraid to give it a shot and decide for yourself.


In a small apartment lives Arthur Fleck (Phoenix) and his mother, Penny; he struggles to support them, working as a clown and dealing with multiple mental illnesses.  They are in Gotham City, a huge metropolis with soaring towers and larger-than-life figures, but also ubiquitous crime and poverty on the streets.  While Arthur and his mother laugh each night at the antics of TV hosts like Murray Franklin (De Niro), he finds a much tougher crowd in his clown makeup.  A tragic, violent encounter on the subway one night rips apart Fleck's tenuous status quo, and he begins to delve into his personal history just as wider events threaten to swallow him.

Joker has a small cast, and nearly every moment is focused on the infamous, titular comic book villain.  Joaquin Phoenix steps into the role this time, one that has seen a wide variety of actors and styles, from Cesar Romero to Jack Nicholson to Heath Ledger.  Phoenix's Joker is front and center, of course, and so it's the most well-developed look yet at this famous character; it's also an origin story and thus (mostly) pre-Clown Prince of Crime, Batman's archenemy.  Both physically and psychologically, Phoenix is disturbing yet spellbinding.  The tone of his voice makes him sound like a boy, and indeed he behaves childlike in most scenes, unsettling yet understandable due to his upbringing and mental problems.  Arthur is awkward in all social settings, only truly comfortable either with his mother or alone, where he often writhes and even dances, which Phoenix uses to show a certain release but also tangible sign (through his contorted physique) of long-term neglect.  One of the Joker's primary features, his laugh, is cleverly used as a manifestation of Fleck's illness, and Phoenix develops an effective one, at times innocent and pitiful, at others menacing and creepy.  Ultimately, Phoenix's Joker/Fleck is a perfect fit for this Gotham City, and his performance is one worthy of the full attention it receives in every frame.  De Niro has a small part, and one mostly at a distance, but he's a perfect fit as the idolized talk show host who also shows more underneath in a key scene.  Zazie Beetz brings her significant charisma with her to her role as Fleck's neighbor; another small part, yet still distinct and crucial to the film.  Frances Conroy and Brett Cullen are the other notable players, as Penny Fleck and Thomas Wayne, respectively, who do good work.

Joker is a contentious film, but also a highly thought-provoking one that's engrossing and well-made for the most part.  It's also, of course, a comic book adaptation, yet change some of the names here and it's really a fairly regular (if dark) thriller/character study.  The simple title is apt, because this really is all about Phoenix's Fleck.  We get a close, sometimes uncomfortably so, look at everything from his debilitating if unpredictable mental illness - including uncontrollable laughter (a stress response, it seems) and delusions - to his stressful, thankless day job as a clown (and his wary colleagues) and his evening routine with mother, seemingly unchanged over many years.  An eerie, effective score helps set the scene, too, building throughout the film.  Thanks to the city itself - which is really the co-star, in a way - the film gets narrative momentum before long, an inexorable yet often surprising and poignant journey for Fleck from a trampled nobody to his criminal destiny (ironically, revered by many).  The script is strong, much of which is captured in Fleck himself, but it also has a good flow and pacing.  The film effectively shows how the various aspects of Fleck's life - his comic aspirations, workplace, relationships - affect each other, and on top of that how key incidents change those directions subtly yet profoundly.  The comic book elements only gradually reveal themselves, and at times they are the film's clumsier moments.  Along with the psychological darkness, there is considerable physical violence.  While it makes a certain amount of sense in the context of the Joker character's history, it's obviously one of the most controversial elements; I can understand the concern over it, but most of it does at least fit appropriately in the story.  The ending is also debatable, one in which the film's restraint, which loosens along the way, breaks away completely and we get an outright horrifying vision that melds together the fate of Fleck and Gotham itself.  Wrapping things up yet representing just the beginning of a universe of comics lore, it's one that left me intrigued.

My thoughts in the week since seeing Joker have been drawn towards that path Fleck takes in becoming the Joker.  I think it's driven by a confluence of very real factors: his mental illnesses, his physical abuse as a child, and the wider society (which provides few opportunities to someone like Fleck, makes him vulnerable to random crime, and even cuts the few lifelines to treatment he depends on).  These are all distressingly realistic scenarios, ones which too many individuals face every day (obviously, in a wide variety of forms and degrees).  But this is all kindling, as bad as it has made life for Fleck.  It's the tragic coincidences and confrontations that truly turn that bad situation into an inferno.  And I don't mean to say that Arthur is innocent in all this, that he is merely a victim: he clearly makes not just wrong but evil decisions that are at least as important as those he can't control.  But a final aspect of his life that is essential to see is the lack of love and support in his life.  Without it, those crucial decisions he makes are based on knowing that he is truly alone - to fight for his own survival, to fight for revenge against his many (real and perceived) tormentors.  So as an origin story for the Joker character, it's a grim but appropriate tale.  We should be very careful, at the least, in applying anything from the film to the real world.  But I think it's important to be mindful of both the dangers and/or vulnerabilities of the above (mental illness, abuse, classism, racism) and to realize that we must love and respect one another to overcome these and other challenges.

***

Joker is one of the most hotly debated films of the year, as evidenced by a lukewarm 68% on Rotten Tomatoes, and more so by getting everything from the Venice Film Festival's Golden Lion award, to scathing critiques from leading social thinkers.  As you can probably tell, I found it a fascinating film, if nothing else (I definitely need to see it again, at least).  Well-made overall (particularly Phoenix's performance), and while it is troubling or questionable in some parts, it provides an in-depth origin story for one of pop culture's most famous villain's as well as taking an unsparing look at some very real-life issues.  Beyond discussion of the explosive themes, many critics point out similarities to Martin Scorcese films like Taxi Driver.  I haven't seen them, so I can't comment on comparisons, but it's yet more to be discussed.  I don't exactly want to see a lot more comic book/superhero movies in this particular style - but it's good to see a different take on one of my favorite genres.  I do encourage most audiences to give it a try; some will love it, some will hate it, but that's just one of the things I love about the movies!



* By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=60399334

Brittany Runs a Marathon

Score:  A-

Directed by Paul Downs Colaizzo
Starring Jillian Bell, Michaela Watkins, Utkarsh Ambudkar, Lil Rel Howery
Running time: 103 minutes
Rated R

Long Story Short:  The title may capture the basics of this dramedy, but there's much more going on in this high-quality film.  Led by a great performance from Jillian Bell and a superb supporting cast, new filmmaker Colaizzo also pens a fantastic script to overcome a few newbie hiccups.  This is probably not what you're expecting, but it's for the better.  Highly recommended.


Brittany (Bell), in her late-twenties, finds herself adrift and growing - but in the wrong ways.  Her doctor warns her of the risks of not getting her weight under control, and so she grudgingly hits the streets of New York, if not at a brisk pace.  There she finds a whole new world of runners, from other aspirers like herself to the long-time enthusiasts like her seemingly-perfect neighbor, Catherine (Watkins).  As Brittany struggles to take control of her physical life, a domino effect of other changes begin in her life, and she relies on relationships both old - such as her close brother-in-law, Demetrius (Howery) - and new - such as slacker house-sitter, Jern (Ambudkar).  Despite her devotion, it's a hard road to travel, and the goal of transformation is hardly assured.

Brittany Runs a Marathon has an ecclectic yet excellent cast, led by its title character.  Jillian Bell, a notable but mostly peripheral up-and-comer, takes on the lead and breathes genuine, gripping, and sympathetic life into her ostensibly ordinary character.  Aided by a tremendous script, Bell avoids a minefield of cliches and other acting dangers to create a truly unique, believable character.  Cynical and jaded at the start due to the everyday ways others - and she herself - treat her, the inevitable turn toward improvement and self-respect comes in fits and starts.  Yes, she's funny, but it's not her dominant feature or strength; rather, it's her will power and quiet, steady persistence that shine through.  She is capable of lashing out at others - even friends - in ways that mirror her own wounds, yet Bell ultimately allows her deeper, less showy humanity win out.  She's basically like anyone else but also her own self, and thus the definition of a great character.  Everyone else is supporting, but they provide a rich, varied web of relationships for Brittany.  Watkins and Micah Stock are her running buddies; Stock is good comic relief, and Watkins is a standout in several poignant scenes.  Howery is laugh-out-loud at times, as expected, but succeeds in quieter moments, too.  But Ambudkar nearly steals the whole show, as a hilarious deadbeat early who develops organically into a flawed yet warm, likable guy.  Only Alice Lee, as Brittany's toxic roommate, overplays things a bit, but her role still produces the intended results.

Brittany, both the character and the film, begin as potentially derivative stereotypes that immediately deliver more meaningful and entertaining - and far deeper - results than expected.  The premise is a familiar one in which a character with a central, visible flaw works to overcome it through an overall transformation.  That's fine, but you need either a really impressive script or performances to get something out of it that stands out.  Fortunately, Brittany has both.  I'm having a hard time recalling any film that sketches out a more vivid and believable real-world scenario than this.  It's of this moment in time, finding a place for everything from social media to opioids in a natural way while not flaunting them.  Most important is the seeming mind-meld between first time writer-director Colaizzo and star Bell.  While the actress communicates both subtly and devastatingly with her mere body language, she also delivers her great lines just the way they need to be.  If everyone else in the film were mere scenery, though, it wouldn't have been nearly as good.  As in real life, Brittany shows that we owe who we are at least as much to those around us as to our own efforts and traits.  Brittany may have lived with a longtime "friend" at the start, but that and the loss of other relationships had a direct effect on her spinning out of control.  While she takes the initiative herself to turn things around, it's only by meeting and truly getting to know Watkins' once-reviled neighbor - and a few other friends - that it takes hold.  And when setbacks threaten to upend her efforts, it's both new and old friends again who help her back up.  There are a few awkward turns along the way, and some conversations that get a bit too on-the-nose; when Brittany's feeling down, the cable TV-quality score is also an ear-sore at times.  But Brittany gets the important things right - oh, and she does run that marathon, and it's at least as uplifting as hoped - and in ways that you probably won't expect.

***

Brittany Runs a Marathon is a great success of its own, and an equally good sign for the film industry overall.  Produced by tech giant Amazon, this is a far better effort than its well-intentioned but poorly executed Late Night from earlier this year.  If we can get more creative, talent-driven films like these funded going forward, it's only a good thing for film.  Colaizzo, up to now involved in theater, and Bell, a supporting comedic actor, are the kind of people we want leading films; what we don't want is efforts like Ad Astra - coasting on familiar names and previously-successful formulas to disaster.  Since this is from Amazon, it will hopefully be available on Prime at some point.  Be sure to give it a try when you can!



* By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=60964660