Elio + Materialists

 

         

Mini-Reviews:  Elio & Materialists

Elio

Score:  B

Directed by Sharafian, Shi, & Molina

Starring Yonas Kibreab, Zoe Saldana, Remy Edgerly, et al

Running time: 98 minutes

Rated PG

Elio is Pixar’s latest movie, an original that is entertaining but doesn’t live up to the studio’s high standards.  The movie centers on an orphaned boy who wishes to be literally abducted by aliens and take him away from the world where he feels like a stranger - when a benevolent group of extraterrestrials complies.  Not all is well, however, as a warring alien race threatens to destroy Elio’s abductors, but the adventure turns unexpectedly when Elio befriends the heir of the warring aliens’ leader.  Elio premise is certainly creative, in the Pixar tradition, and it also focuses on two of the studio’s key themes: a genuine exploration of a real life situation (alienation of orphaned children) via the surreal (ACTUAL aliens), and how friendships can form despite significant individual differences and powerfully affect big events.  Despite all of this, I just didn’t feel as transported or impressed as I typically do by Pixar movies.  It’s hard to give examples of exactly why, but I just often felt like it was somewhat rote, hitting the expected cues for a Pixar movie.  Maybe it’s that a lot of the creative choices were made because it made sense for the plot (and, again, Pixar tone) rather than a single, unified vision.  On that last part, note that there are three directors credited for the movie (who also came up with the story), and three other screenplay writers.  Elio is perfectly fine, there are no glaring problems (to me) - it just doesn’t add up to Pixar’s usual magic.

Materialists

Score:  A-

Directed by Celine Song

Starring Dakota Johnson, Chris Evans, Pedro Pascal

Running time: 117 minutes

Rated R

An update on the rom-com genre, Materialists succeeds both in developing a compelling trio of characters and in astutely observing modern dating dynamics.  Dakota Johnson plays Lucy, a New York match-maker who is pursued by two very different men played by Pedro Pascal and Chris Evans.  Both the main characters and their relationships must be strong and believable for this kind of movie to succeed, no matter its other strengths - and fortunately, it does both.  Johnson (and the script) doesn’t make Lucy into the most unique or charismatic character, but Lucy does feel genuine and cohesive.  Her key talent is in identifying (through both instinct and practice) what “marketable” attributes men and women offer for dating, and which prospective partners are most interested in those traits.  Effectively, Lucy is a dating algorithm in human form, scoring candidates’ wealth, physical build/attractiveness, and (usually well behind the first two) personality and charisma.  Materialists highlights how technology enables us to “filter” our potential mates by innumerable factors - and in doing so, traps us in a game that’s impossible to “win”.  The script is often rather direct about these things, but while I would have preferred a bit more subtlety, it’s still strongly written.  Pascal’s Harry is what Lucy refers to as a unicorn: a top score in virtually all aspects.  But the movie doesn’t just portray him as an empty vessel of superficially-impressive traits; he genuinely is attracted to Lucy as a human and is a reasonable (in fact, kind of normal) person.  Evans’s John, on the other hand, fails miserably in the wealth department, which Lucy has considered her non-negotiable; however, they are also exes who know each other extremely well, a quality whose high value is subtly demonstrated.  The plot has a pretty familiar arc overall, although it’s adapted well to the particular elements of these characters and themes.  The final third or so is also handled differently than I expected, though, and it provides some satisfying resolution while allowing some threads to remain open.  Oh, and there is also some pretty good “com” in this rom-com, mostly from Lucy’s discussions with her clients and their quite blunt preferences for/experiences with their dates (Lucy’s restraint from eyebrow-raising or eye-rolling is quite impressive!).  

***

These last two movies are not of the usual genres that I see in theaters - let alone in the summer! - but they were a nice change of pace.  If anything, I would have expected my reactions to them to be reversed, but that’s why you have to see the movie before making judgment.  For Elio, my feeling can be distilled almost to “meh” - already, my memories of it are somewhat faded/blurred.  I fear that Pixar may be losing its magic touch, as last year’s Inside Out sequel (the original was amazing, and my #1 movie of 2015) was similarly “meh”.  I thought Elemental was really good (and underrated), but before that, the last truly great Pixar movie was 2017’s Coco.  Meanwhile, Materialists has a good Rotten Tomatoes score (81%) but has been mostly ignored by audiences, with just a $11 million opening weekend and $27 million altogether.  Movies with star power and stories like this used to be big hits, but those days sadly seem to be over.  They are not as visually spectacular, must-see-on-the-big-screen events as Star Wars, Jurassic Park, or superhero movies, but I am disappointed that fewer regular dramas like Materialists get released in theaters (and seen when they’re there).  So give this one a shot!  And if you have a family and are desperate to get the kids out of the house, Elio is a fine choice, too.

* By Source, http://www.impawards.com/2025/elio_ver5.html, Fair use, https://en.wikipedia.org/w/index.php?curid=80220262

Mission Impossible 8 + John Wick: Ballerina

 

       

Mini-Reviews: Mission Impossible: The Final Reckoning + Ballerina (from world of John Wick)

Mission Impossible: The Final Reckoning

Score:  A-/B+

Directed by Christopher McQuarrie

Starring Tom Cruise, Hayley Atwell, Esai Morales, et al

Running time: 170 minutes

Rated PG-13

The final (probably?) movie in the Mission Impossible series, begun almost thirty years ago, goes out on a high note stunt-wise but is otherwise a bit shaky.  Whereas in most Missions, all we really know going in is that Ethan Hunt (Cruise) will lead a crack team of agents on a thrilling adventure to avert disaster, we already know a lot about what's likely to happen here, since it's the conclusion to Dead Reckoning's (2023) cliffhanger.  We also know, from the title, that this is probably the last one.  This leads to two elements that are mixed, at best.  First, there is little mystery as to the bad guy's (er, AI's) plot, or even what it's all leading to.  Not knowing those things in previous MIs was one of my favorite elements, so it felt strange and disappointing to know way more than usual about it.  Second, the film pays plenty of homage to Hunt/Cruise, especially in the beginning (including a montage from past movies), and the character interactions are unusually emotional, even sentimental.  At times, and to a certain degree, this is warranted, but I think it goes overboard.  It results in the movie being far too long, the beginning is very clunky and out of character for the franchise, and it's occasionally cringey.

Still, I give the movie fairly high marks despite all that because the stunts are as tremendous as ever.  There are two different extended, insanely gripping, well-choreographed/shot, and entertaining sequences.  One is underwater in a sunken submarine; despite no villains or dialogue, it is amazing.  Poor Hunt has to get past one obstacle after another, and you can deeply feel the danger and difficulty of his situation throughout.  The sets are awesome and the fairly minimal CGI is seamless; the you feel like you're underwater with Cruise, and his final escape is sweet release.  The second is quite a bit different, other than involving a vehicle: this time, Hunt is in midair hanging from and climbing between two vintage biplanes.  This is all real stunt work, done by Cruise himself.  I couldn't help but laugh a few times at the sheer ludicrousness of the action but you've never seen anything like it before.  These two stunts sequences are worth the price of admission alone, and demand a trip to the theater.  The parts in between you can put up with, and maybe say a fond farewell to this tireless group of actors, crew, and filmmakers who have entertained us for the last few decades.

Ballerina (from the World of John Wick)

Score:  B+

Directed by Len Wiseman

Starring Ana de Armas, Ian McShane, Keanu Reeves et al

Running time: 125 minutes

Rated R

This is the rare spin-off movie that is really good, both appropriate to the original John Wick's tone and world but also adding something new and not just a retread.  John Wick (2014) started an excellent new action franchise that stands way above most others in the genre thanks to its intriguing, detailed world building and, of course, the inventive, pulse-pounding, extremely well-choreographed battles.  Ana de Armas is a great choice for a new character in this world, with her experience in other action movies.  She is very convincing in the action scenes and, to my eyes, is about the ultimate femme fatale, quite gorgeous despite not being presented as such intentionally, and equally deadly.  Her character, Eve, doesn't get quite as effective a story as Wick, but it works well enough.  And as opposed to the new MI, the first third of the film is perhaps the best part, featuring an excellent sequence of training scenes that helps distinguish Eve from Wick and others like them.  The Wick world elements are seamlessly incorporated and expanded here, from use of the assassins' dens in the civilized guise of Continental hotels to the crime families with historical yet tense truces.  The action scenes are superbly done, pretty much on par with the other Wick movies, and Eve gets her own fighting style, separate from Wick's.  Like his, though, the fights are not simply effortless mowing down of bad guys: Eve takes plenty of licks, too, and it feels all the more impressive that she keeps on ticking and taking out the astonished baddies.  The only significant disappointment to me, in fact, was too much involvement from Reeves's Wick in the final part of the movie.  A small (dialogue-based) scene with him at the beginning is fine and appropriate, but it's as if the filmmakers (more likely, the studio) believed they had to include their big star more to satisfy the audience.  It's still a fun finale - especially with the flamethrowers, even if it's a bit overplayed - but it leans too much to the body count side, to my taste, whereas smaller scale, more intimate/intense fights would have better suited Eve.  Still, this is a great success both on its own as an individual action movie, and as a continuation of John Wick's tremendous movie franchise.

***

I was very pleased to get to see new entries of two of my favorite action/adventure franchises in Mission Impossible and John Wick this summer.  MI, bitter sweetly, is probably now (and should be) concluded - Tom Cruise is the franchise, his face and more importantly his astounding stunts that I doubt will ever be repeated.  That's fine - but I certainly hope that ambitious actors and filmmakers in Hollywood will come up with something new to take its place.  Something like Keanu Reeves's John Wick movies, which are my favorite new action franchise since, well, MI.  Reeves's own role is also probably now over - but in this case, the franchise is well-suited to new characters, as Ana de Armas definitely proved in Ballerina.  I would recommend going to see both of these movies in theaters - I encourage seeing all movies in theaters, but especially movies like these (and extra especially MI).  You'll get a bit more enjoyment out of each if you've seen the previous movies in their respective series.  But both are great by themselves, too (warning for Ballerina, though: it is quite a bit more violent than MI).  Until next time!

* By source http://www.impawards.com/2025/mission_impossible__the_final_reckoning_ver2_xxlg.html, Fair use, https://en.wikipedia.org/w/index.php?curid=78335261

* By source 

Friendship

 

Score:  B

Directed by Andrew DeYoung

Starring Tim Robinson, Paul Rudd, Kate Mara

Running time: 97 minutes

Rated R

Long Story Short:  In his first starring movie role, Tim Robinson brings his unique, jarring brand of humor to Hollywood, teamed with the more comfort-food familiarity of Paul Rudd.  As the title suggests, the movie focuses on the importance and deceptive difficulty of friendship in modern life.  Those who are familiar with Robinson’s sketches will be prepared for (though perhaps not predict) the surreal comical surprises as the main relationship goes off the rails.  Not for everyone’s tastes but if you know what you’re getting into or just want to try something new, go see this.

Craig (Robinson) is feeling down in life, ready to pull up stakes and start fresh.  One day by chance, however, he receives a package delivered to him in error.  When he walks it over to the correct home, Craig meets Austin (Rudd) who unexpectedly becomes an interesting new friend.  Craig, married with a son, is an introvert by nature, but Austin shows him the many simple pleasures of bonding.  However, no relationship, no matter how magical, is perfect, and Craig’s insecurities begin to come to the surface.  The way he handles the ups and downs of this friendship will have major ramifications for his entire life.

Friendship is at times pretty amusing and subtly insightful, but Robinson’s odd humor is a tricky fit in a full length film, and it ends up feeling somewhat scattered.  Robinson, if you haven’t seen him, has a unique blend of deadpan absurdity: he has a fun mini-sketch show on Netflix, if you want to get a taste. Friendship is an attempt to adapt this style from individual sketch scenes to the extended tone and themes of a full-length drama.  The narrative concept and several scenes and moments throughout the film are successful, but the overall cohesion and feel come up a bit short.  I liked the very simple premise: a lonely man whose life is slowly falling apart meets a neighbor and develops an unexpected friendship, helping him to bounce back.  It’s interesting how Craig then becomes obsessed and insecure, his flaws (and loosening inhibitions) hurting the friendship and leading to a downward spiral (Robinson is great as a put-upon every man which also leads to hilariously over-the-top scenes, such as a suddenly escalated confrontation at a party, and a marketing pitch to a politician gone awry).  Little moments can be quite funny or at least clever: delicately carrying a full mug of tea (I can relate!), carting a drum set to his friend’s house - and a secret sewer adventure is definitely a highlight.  

Despite a clever setup and some good moments, though, the film’s non-comedy threads fray as it goes on, and Craig’s complete collapse when his friendship goes sideways transforms the movie from sly social commentary to something closer to parody.  No comedies expect you to laugh at every turn (at least, they shouldn’t) but more often than usual for the genre, the moments or scenes here that are intended purely for plot or showing the characters’ “normal” lives come off a bit awkwardly, particularly when contrasted with the sudden, bizarre comedic moments.  Admittedly, the filmmakers manage to meld the drama early on somewhat well, but it stands out more and more frequently.  The build-up of Craig and Austin’s friendship is done well, both its humor and relatability, and even the moment of breakdown when Craig meets Austin’s larger friend group (though it starts to get weirder here).  Events turn more extreme as Craig’s desperation rises, and also fairly fragmented and inconsistent, plot-wise; while there are some good moments of humor from this, the story around it starts to fall apart.  Still, all in all, it’s a worthy attempt at a new kind of comedy with plenty of entertainment and some thought-provoking concepts surrounding modern, well, friendships.

***

Having seen and enjoyed Tim Robinson before, I was intrigued by the idea of his starring in a movie and so I’ve looked forward to Friendship for a little while now.  I’m not exactly disappointed by the results: sure, it could have been better, but it’s a perfectly solid effort and a nice change of pace.  I hope that we see Robinson in more movies.  Still, I’m mystified by some critics’ fawning over the movie, calling it (as seen in the movie’s marketing) the funniest movie they’ve seen in years or ever.  Slow down.  It provided some good variety for me at the movie theater this summer - since most of what I will see is probably going to be blockbuster action stuff.  I certainly don’t recommend this for everyone, but if you have a taste for modern humor, especially if you’re already familiar with (and fond of) Tim Robinson, you should give this a try.

* By source, https://en.wikipedia.org/wiki/File:Friendship_poster.jpg#/media/File:Friendship_poster.jpg