Tag: Samuel L Jackson

ARGYLLE – Review

L to R: Henry Cavill, Dua Lipa, and John Cena in ARGYLLE, directed by Matthew Vaughn

It feels as though there are one, or two, films that want to “push” against the standard movie-releasing rules as January slowly (with those recent temps it feels like crawling) gives way to February. The big splashy noisy action blockbusters are supposed to be waiting in the wings for the warmer times, but since this is from “Marv maverick” Matthew Vaughn, of course it’s not going to adhere to anyone’s rules. The guiding force behind the KINGSMAN and KING’S MAN franchises (and a pivotal entry in the X_MEN multiverse) attempts to get another series going by mixing in a bit more comedy and even a touch of romance and fantasy as he hopes we will be swept up in the world of ARGYLLE.


And just what does the title mean? In the first few minutes we learn that it’s the moniker of a globe-trotting “super-spy” (Henry Cavill), who favors a velvet suit rather than the patterned sweaters. When we meet him, he’s trying to capture a sultry blonde assassin, Lagrange (Dua Lipa). And with the help of his “muscle” Wyatt (John Cena) and computer whiz Kiera (Ariana DeBose), it’s “mission accomplished”, until they learn that their target was actually working with their boss in “the agency’. But then Argylle’s narrative voice segues into a woman’s voice, that of Elly Conway (Bryce Dallas Howard) who is reading the last line of her newest espionage thriller (the fifth in a series of best sellers) at her local bookstore in Colorado. From there it’s back to her quiet country home on the lake, buffeted by the mountains, as she finishes the sixth book, aided by her constant companion, a Scottish Fold cat named Alfie. The still night is interrupted by a “face-time” call from Elly’s mom Ruth (Catherine O’Hara) who isn’t pleased with the draft of the new tome. Agreeing that it needs a new chapter for a better ending, Ruth says that she’ll fly out for a visit. But Elly throws her a curve by boarding a Chicago-bound train. As the train departs, she’s joined by an off-putting scraggly fan named Aidan (Sam Rockwell) who explains that he’s a real spy and that Elly’s books have real-life counterparts. Elly scoffs until Aidan saves her from the countless skilled killers in the passenger car. As they escape, Aidan tells her that she must finish the new story, in order to thwart the forces that want to silence the duo forever. Somehow Elly’s creations are indeed true, and the reclusive writer must call upon her inner agent Argylle to survive.

As the timid and awkward “future cat lady” Elly, Howard displays the full range of her acting prowess, jumping right from comic annoyance to stark skittish terror to reluctant daredevil (hey she could wear high heels and evade dinosaurs in a recent trilogy) as the “normal” plunged into this “netherworld”. She’s certainly the heart of this flick as the vulnerable author turned adventurer. It helps that her guide is the ultra-cool and wacky Aidan played with “loosey-goosey” charm to spare by the always interesting “wild card” Rockwell, a nice “switcheroo” on the cliffhanging hero. More like the cliche is Cavill as the “fictional” gentleman agent who seems to have everything under control, especially his razor-sharp “buzz” haircut. He’s a fun parody in the opening sequences and it’s always a treat to see him “pop in” for a few seconds to assure Elly as she sees him in a mirror before “blinking” him back into her brain. Bryan Cranston appears to be having lots of fun putting his own spin on the arch-enemy “mastermind” role of Ritter, head of the “Division”. O’Hara flexes her considerable comic “chops”‘ as Elly’s “hovering” and way too helpful mother (a twist on her HOME ALONE icon). Though they’re featured heavily in the marketing, Lipa (who sizzles on screen), DeBose, and Cena really have slightly elongated “cameos’ as the novel’s femme fatale, and sidekicks, respectfully. Much the same can be said of Sofia Boutella as the “Keeper of Secrets” and particularly Samuel L. Jackson in a role that’s an affable, amiable “Nick Fury-lite”.

Vaughn gives the opening Bondian set-piece a real “sugar rush” jolt of giddy energy pouring on his hyper-stylized campy stunt flourishes. It almost makes us wish that he could bring that wild whimsey to a full-on spy satire ala the OSS-117 series (or another try at GET SMART). Then he switches gears into a manic spin on ROMANCING THE STONE with Elly and Aidan having a definitely deadly “meet cute”. Unfortunately, the script from Jason Fuchs begins piling on the double and triple crosses, attempting to dazzle us with its clever twists, but often coming off as illogical with characters changing behaviors “willy nilly”, with situations triggering responses that should’ve occurred earlier (not wanting to spoil). It wears us down long before the big third act stunt-heavy finale (paired with lotsa’ pop tunes) that has nearly five near-conclusions with a truly colorful showdown that would be sumptuous at a couple of minutes but comes off as self-indulgent “showboating” at nearly ten minutes. Luckily Vaughn (who has been de-clawed much like Alfie in order to get a more all-ages friendly PG-13 rating) keeps the comic close-ups of the obviously CGI kitty cat limited (it seemed like the trailers were “pushing’ it relentlessly), but the whole thing feels incredibly bloated at 139 minutes (didn’t FAST X teach us anything about action’thriller editing being needed). A dreary mid-credits bonus scene teases a follow-up, but this initial effort’s exhausting pacing and cliched “master plan” may make this the first and final mission for the mildly amusing agent ARGYLLE.

2 Out of 4

ARGYLLE is now playing in theatres everywhere

THE MARVELS -Review

Face front, true believers! This year we’ve had three multiplex visits to the realm of the “Distinguished Competition”, so you didn’t think the MCU would end 2023 with treks into Quantumania and Knowhere (hangout of those Galaxy Guardians)? Oh no, Smilin’ Stan wouldn’t want the fifteenth anniversary of the Studio to conclude without one more adventure. And it’s a sequel to a 2019 film that introduced the cosmic Carol Danvers, while also being somewhat of an expansion of her saga. That’s because she’s not completely going solo (oh, her old spy pal returns too) as she’s joined by two characters that made their heroic debuts on Disney+. Together this titanic trio is on a mission to save us all as THE MARVELS.

The action starts in a distant galaxy as a fleet of ships from the Kree empire converge on a desolate planet. The surface party led by the high-ranking officer Dar-Benn (Zawe Ashton) retrieves a familiar-looking “bangle”. Slipping it on her forearm, Dar-Benn creates a “hole” in the sky, a gateway “hopper” to other galaxies. And this hardware creates some unexpected chaos, reaching all the way to Jersey City, USA. That’s where Kamala Khan (Iman Vellani) AKA Ms. Marvel is enjoying a quiet day in her super-hero decorated bedroom, upstairs from her parents, Muneeba (Zenobia Shroff) and Yusuf (Mohan Kapur) and big bro Aamir (Saagar Shaikh). Meanwhile, near the S.A.B.R.E. space platform, Captain Monica Rambeau (Teyonah Parris), who possesses light-based superpowers, is checking out one of those “space schisms” as Colonel Nick Fury (Samuel L. Jackson) listens and observes. When Monica touches the glowering “hole” she switches places with Kamala and the protector of planets, Carol Danvers (Brie Larson) AKA Captain Marvel. The three continue zipping back and forth until a battle with Kree mercenaries ends. It’s decided that the three heroes must learn to work together as a team to stop Dar-Benn who wants to use the “gateways” to exact revenge on Danvers by destroying the worlds she loves, including her old home, Earth.

Though this is her third major appearance as the cosmic crusader (after a quick cameo in SHANG CHI), Larson brings an extra dimension to this story’s “big gun”. Yes, there is a steely confidence that conveys her strength without needing a “modified” uniform, but there’s also a bit of sadness. Despite the company of her trusty flerken Goose, we can see that her role of the “monitor of everything” quietly cruising the stars had taken its toll. And we see her remorse after a well-intentioned act went sideway earning her the unwanted moniker of “The Annihilator” (her downcast eyes tell us that this word truly hurts). But we see her mood lighten when meeting her “number one fan” Kamala played with buoyant energy by the bouncy Iman. She’s a bundle of sunshine, showing us that being a superhero can be fun (unlike the brooding folks at the other comics company). Temper that with her superb comedic timing and Ms. Vellani is certainly the MVP of this MCU entry (and you really should stream her solo series). Parris as the soon-to-be-named Photon is in the middle area of the other two characters as she does have a past with Danvers. Their reunion is awkward and melancholy as Danvers had promised to return to Monica, but couldn’t keep her word. She can’t be the “lil’ sister” to Carol, unlike Kamala, but Parris gives us hints that the emotional wound may be fading. Plus she scores a few laughs as she tries to hone her unusual abilities.

The main supporter of the “big three”, maybe their “Dutch Uncle, is the always entertaining Jackson in his fifteenth turn (including TV) as the stalwart spy turned “space cop”. He’s still an old school hard…case, but he lets us know with a hint of a wink in that “one good eye”, that he’s very impressed with this new team and has to control the urge to flash a beaming proud smile. He’s a great “straight man” for the “emotionally available” members of the Khan family. Their leader is the imposing Shroff, who is tough on daughter Kamala, but is also her biggest defender and a fierce “mama bear”. Kapur as the “papa bear’ is more of a pushover, but always attempts to offer aide, though it results in some slapstick with Shaikh as the baffled but loving big brother. As for the “big baddie,” Ashton projects a cool often unreadable menace as Dar-Benn, who believes her cause is just as she sets out to punish Carol while ending her peoples’ suffering. She’s more interesting than the other Kree villain Ronan (the first Guardian foe) as she has the noble pursuits of Thanos mixed with the rage of Star Trek’s Khan. Turning in good performances in brief roles are Gary Lewis as a somber Skrull leader and Park Seo-joon as a most helpful prince who has a diplomatic “bond” with Carol.

Once more Marvel Studios has handed the directing reigns to a talented filmmaker mainly known for “indies” (though her CANDYMAN reboot was more high profile), Nia DaCosta, who also co-wrote the screenplay with Megan McDonnell and Elissa Karasik. DaCosta makes good use of this bigger “canvas” and stages some impressive action sequences along with some scenes of old school “disaster”, especially the razing of the Skrull sanctuary. And she conveys some claustrophobic tension in the big attack on the Khan cottage. She is also adept in the comedy stretches, whether the rat-a-tat interplay between the three leads or the slapstick silliness of the Flerken (CGI can be silly). Happily, she also keeps the story briskly paced, so that it doesn’t have the “epic bloat” of many recent fantasy flicks, bringing it to a nice 105-minute runtime. In hindsight, a couple of extra minutes could have been used to better “flesh out” the masterplan of the “wormholes”, but the grand bonus “bits’ will leave MCU fans with big grins during the walk out to the parking lot. It may not have the emotional gravitas of the last MCU outing (oh Rocket Racoon), but the engaging performances from the cast (more, more Ms. Vellani) make us want to soar through the stars with THE MARVELS.

3 Out of 4

THE MARVELS is now playing in theatres everywhere

Michael Cera, Ricky Gervais, Mel Brooks And Samuel L. Jackson Provide The Voices In Upcoming PAWS OF FURY: THE LEGEND OF HANK, In Theaters July 15

Ricky Gervais as “Ika Chu” and George Takei as “Ohga” in Paws of Fury: The Legend of Hank from Paramount Pictures, Nickelodeon Movies, Align, and Aniventure.

A hard-on-his-luck hound Hank (Michael Cera) finds himself in a town full of cats who need a hero to defend them from a ruthless villain’s (Ricky Gervais) evil plot to wipe their village off the map. With help from a reluctant teacher (Samuel L. Jackson) to train him, our underdog must assume the role of town samurai and team up with the villagers to save the day. The only problem… cats hate dogs!

Michael Cera as “Hank” and Samuel L. Jackson as “Jimbo” in Paws of Fury: The Legend of Hank from Paramount Pictures, Nickelodeon Movies, Align, and Aniventure.

Also starring Mel Brooks, George Takei, Aasif Mandvi, Gabriel Iglesias, Djimon Hounsou, Michelle Yeoh, Kylie Kuioka, and Cathy Shim, watch the hilarious trailer now!

This is funny as all get-out, hysterical funny kind of get-out. This film looks awesome! I mean, ca’mon, with lines like, “What the mother father cocker spaniel is going on here?!” and “Who knew an evil army could go through so many beans?”

And Ricky Gervais as the Villain, oh yeah, we’re in!

See the movie in theaters this summer when PAWS OF FURY: THE LEGEND OF HANK pounces into theatres July 15, 2022.

Gabriel Iglesias as “Chuck” and Aasif Mandvi as “Ichiro” in Paws of Fury: The Legend of Hank from Paramount Pictures, Nickelodeon Movies, Align, and Aniventure.

THE PROTEGE – Review

So just over the horizon, after clearing a couple of weeks, Labor Day looms over the cinematic landscape. Not only is it a time for heading back to school and cooler temps, but at the multiplex, it ushers in more serious somber fare. So the studios want Summer to go out with a bang, actually several “bangs” with the release of this weekend’s high body count thriller. Sure, we’ve had several action flicks in F9, JUNGLE CRUISE, and BLACK WIDOW, but nothing that’s gotten really, well, messy and R-rated since THE HITMAN’S WIFE’S BODYGUARD a couple of months ago, which followed NOBODY. We haven’t had a visit from that efficient Mr. Wick in a couple of years now. So, in the meantime, how about a “Joan Wick”, a ruthless female super-assassin? Well, this weekend the bullets will be flying, courtesy of the lady known as THE PROTEGE.


Her story begins with a flashback thirty years ago to the bloody backstreets of Vietnam, as an American “free agent” named Moody (Samuel L. Jackson) walks into the aftermath of a bloody shootout and tries to befriend the only survivor, a pre-teen local girl clutching a still-warm pistol. Flash-forward to today, as Moody and the adult lass, now named Anna (Maggie Q) are concluding their latest mission in Bulgaria. They’re mercenaries for hire, but they only take out the “bad ones”. After the job is done they return to London where Anna runs a posh exclusive rare bookstore and Moody “chills” at his country estate while nursing a truly nasty cough (which could do him in, before his rivals get the chance). During his brief birthday celebration, he gives her a new “gig”, locating, “only finding” the now-grown son of a long-deceased business tycoon. The next day, Anna encounters an odd, but attractive book client named Rembrandt (Michael Keaton) who’s more interested in her than the literary rarities. Later that night her world crashes. Heavily armed thugs destroy the shop in an attempt on her life. Returning to Moody’s mansion, Anna sees that he was not as lucky. She vows to complete the job, which will hopefully “smoke out” the culprits. But in exacting her revenge, Anna must return to Vietnam for a most bloody homecoming. As she delves into the mystery, will those shadowy killers finish the “hit”?

The confident Ms. Q seems to be more than up for the task of carrying the lead in a “go-for-broke” energetic action-thriller after working on several TV shows over the years, most notably the lead in the CW series “Nikita”. As she’s eluding the hordes of hitmen, Q shows us how Anna’s mind is racing for the quickest solution to the problem (often an escape route, but more likely brutal retaliation). In between battles, she displays a knack for humor, imbuing much of the dialogue with a fun, off-the-cuff delivery. That’s the case for her exchanges with Jackson’s Moody, the type of role he can effortlessly toss off like a comfy old robe. Saddling him with a frequent cough just seems like a Camille-like affectation to give Moody a bit more urgency and a tragic future outlook. The flick’s real MVP may be the always surprising Keaton, who should be snatching up the grumpy but sweet grandpa’ roles as he hits the big 7-0. Instead, he’s proving his worth as a sexy (the grey hair adds to his rascally charm) action hero. His confident swagger extends both to the big action set-pieces (talk about kitchen calamities) to his playful banter with Q, almost making us forget the huge “age gap”…almost (this after he seems a bit creepy in his bookstore pick-up try). As a bonus, there’s a supporting role for a past terminator Robert Patrick, though he’s doing a crusty ole’ biker version of Bond’s Q “provider’ when he’s not cruisin’ the ‘Nam countryside in a variety of too-tight jean vests.

Speaking of Bond, this flick is helmed (and the marketers feature this prominently in the poster) by 007 vet (2006’s CASINO ROYALE) Martin Campbell, who tries to bring some of that same vitality to the big stunt set-pieces. Unfortunately, his efforts are tripped up by a needlessly complex script and an overall nasty attitude, embracing the R-rating as a way to proclaim how “radical’ and “edgy” it is. The many flashbacks of Moody and teen Anna in Vietnam derail any sort of momentum, while the roster of snarling Euro-kingpins makes little impact with the “big boss’ a near-lifeless “dud”. And though I hate to use the “double G’ combo, I found much of the gore so gratuitous, meant to shock and even titillate (did we knew to see a fountain of blood from the bottom of a poorly sculpted severed head). As with many action-extravaganzas, the film has multiple endings, none very engaging (much like this weekend’s other release). This is worth catching for fans of Keaton (and his career’s amazing ongoing third act), but the filmmakers don’t know what to do with the bullet-ridden banter between him and Q, actually dodging any real dramatic consummation. This is a “last gasp of Summer” throwaway potboiler that may distract and engage the adrenaline “junkies” but most audiences won’t recall THE PROTEGE by the Fall. Nice locales though (who knew Bulgaria could double for Southeast Asia).

2 Out of 4

THE PROTEGE opens in theatres everywhere on 8/20/21

THE HITMAN’S WIFE’S BODYGUARD – Review

(l-r) Samuel L. Jackson, Antonio Banderas, Salma Hayek, and Ryan Reynolds in THE HITMAN’S WIFE’S BODYGUARD. Courtesy of Lionsgate

The first movie, THE HITMAN’S BODYGUARD (2017), without “wife’s” in the title, was a delightful buddy action comedy. The drop-off of this sequel is monstrously precipitous, making it a huge disappointment-in-waiting for fans of the progenitor. How can a cast of Ryan Reynolds, Samuel L. Jackson, Salma Hayek, Antonio Banderas, Gary Oldman and Morgan – freakin’ – Freeman go so wrong? It appears that so much was spent on the stars, and a slew of lovely European locations, that there was nothing left for the screenplay or editing. It winds up a hyperbolic mess with only occasional laughs to reward the viewer.

In THE HITMAN’S WIFE’S BODYGUARD, bodyguard Michael Bryce (Ryan Reynolds) is stressed out by the continued suspension of the bodyguard license he lost in the first movie. He’s haunted by dreams (literally) of winning industry honors, just like his dad. The last thing he wants is to see hitman Darius Kincaid ( Samuel L. Jackson), newly married to con artist Sonia Kincaid (Salma Hayek). But the demented duo decides they need him to defeat bad guy Aristotle Papadopolous ( Antonio Banderas), a wealthy, mad Greek who wants to restore his country to its ancient glory by destroying the European Union. As if that makes sense. Also in the cast, in smaller roles, are Morgan Freeman, Tom Hopper, Richard Grant, Frank Grillo and Gary Oldman.



The plot is just an excuse for everyone to run around to deal with an assortment of threats and foes. Hayek and Banderas, particularly, overact to the point of cartoonishness – seemingly on purpose. The bond between Reynolds and Jackson that evolved so charmingly in the first is reduced to ashes. Instead of a comedy, this plays out almost as a spoof on the first film, missing even that mark. Rarely has so much bankable talent been put to such poor use.

The film references early James Bond and other action films, and specially calls out the 1987 Goldie Hawn – Kurt Russell comedy OVERBOARD, but little comedic use is made of the references. Often after some spectacular CGI explosion, there is a pause to insert a witty quip, but all we get are gems like “I hope they are OK” after a boat explodes.

Tom O’Connor was the sole credited writer for the first. For this sequel, he was joined by brothers Brandon and Phillip Murphy. Two heads may be better than one, but this is evidence that three can be worse than either. Patrick Hughes directed both, causing one to wonder how he lost so much of his comedic sensibility in the four intervening years. I’m guessing that the cast had a lot more fun horsing around on the sets than most of us will have watching the result.

This pointless sequel is a veritable poster-child for unnecessary and bad sequels, a total waste of a good cast and a total waste of viewers’ time. THE HITMAN’S WIFE’S BODYGUARD opens Wednesday, June 16, in theaters nationwide.

RATING: 1 out of 4 stars

SPIRAL (2021) – Review

If there’s anyone that truly believes in the expression, “Everything old is new again”, they probably live in Hollywood. And they are probably a movie studio exec. That’s because there seems to be a reboot, remake, or (the marketers coined this new phrase) a “re-imagining” of a familiar story or concept. Now, this week, the “old” part of that adage is really being put to the test…or stretched thin. After all, the last one hit theatres less than four years ago, And as for the original 2004 entry, it was followed up by six sequels every year, reminding us of the “B” movie franchises of the 30s and 40s, in which you could count on a yearly visit from Andy Hardy’s family, Tarzan, and Boston Blackie. I’m referring to the SAW series. This weekend we’ll see a new spin (sorry) on them via a new thriller whose original subtitle included “From the Book of Saw”, but will now appear on theatre marquees and box office listings as simply SPIRAL. And around it goes…

…until it lands in the middle of a crowded celebration (with the fireworks, it must be July Fourth). In the packed carnival midway, a woman screams that her purse was snatched. A “plainclothes” cop pursues the thief to a “porta-potty”. But the “perp” has vanished…or so it would seem. The er, “seat” has an opening that leads to a ladder that empties into a subway tunnel. It’s then that the cop becomes the prey of a “pig-mask” wearing fiend with a distorted voice and a knack for gruesome torture devices. The next morning we meet another cop who’s having a bad day (though less deadly). The drug bust that Det. Zeke Banks (Chris Rock) worked solo goes sideways. Which leads to a “dressing down” by his boss, Chief Garza (Marisol Nichols). Zeke tells her that he has to work alone since many of the other cops have branded him a “rat” for helping to take down a “dirty” officer. Even though he’s the son of the precinct’s former captain, Zeke will be assigned a partner, a “green” rookie right out of the academy, Will Schenk (Max Minghella). The two are sent out to work a weird subway death of a homeless guy. But later that day, Zeke gets a special delivery package that ID’s the “vic”. Next to a grisly appendage is the badge of Zeke’s only “work buddy”, Boz. Oh, and there’s a flash drive with an image of a red spiral sprayed on the courthouse door along with an audio message from that same distorted voice claiming that Boz has paid the price for his sins. Everyone in the squad room believes it’s the return of “jigsaw”, or a “copy-cat’. That night Zeke goes over the case with his dad Marcus (Samuel L Jackson), who is also his landlord as Zeke’s marriage is crumbling. The news springs Banks Senior into action, though he shares little with his son. As the investigation continues, the packages and bodies pile up. But why do the deliveries always go straight to Banks? Could there be a connection? Or could he be the killer’s ultimate final goal?

Carrying the dramatic weight of this thriller is the always entertaining Rock, who builds upon his recent much-lauded character work in the FX “Fargo” series. The years have given the celebrated stand-up comic a real sense of gravitas making us believe in his Zeke, a man who strives to be just but is frustrated at nearly every turn, by fate and his surly co-workers. Yet, somehow his humor shines through the somber situations as Zeke spouts endless cynical observations and even tosses off an “inside joke” over a very early Rock screen role (30 years already). His work really elevates the often flimsy material. Much the same can be said of Jackson, who makes a most compelling “tough love” pop for Rock’s Zeke. He shows us that retirement hasn’t worked for Marcus, as a return to “the life” actually puts a “spring in his step”. Unfortunately, after an early scene with Rock, which just crackles with energy, the two are apart for most of the flick, making us hope for another pairing as prickly partners. As Zeke’s actual partner, Minghella is quite believable as the “straight arrow’ who can be a “sounding board’ for Rock’s rants, but can also stand up to some of the questionable tactics while getting the job done “by the book”. He gives us hope for the soured system, while we root for him and his ideals to survive the constant chaos.

Series vet Darren Lynn Bousman strives to bring a gritty sense of reality to the often far-fetched fantasy set-pieces. He sets his sights on the classic police/serial killer flicks like SILENCE OF THE LAMBS and especially SE7EN, but is tossed off course by the formula structure of the SAW legacy. The “boiling point” feel is pushed to the limit early as we are told of the city’s “heatwave” and frequent “brown-outs” which layers everyone with a sheen of sweat along with “pit stains” and slowly rotating fans left over from BODY HEAT. But the atmosphere can’t mask some of the script’s extreme “suspensions of disbelief”. We’ve got to accept that the killer can somehow sneak into places (one, in particular, is pretty darn public) and set up and monitor these Rube Golberg-inspired torture contraptions. One somehow meshed broken bottles with what seems to be a sort-of jet engine. The marriage of machine, grime and sticky gore soon becomes tedious as the victims are told via that wonky voice that they have a way out, which never seems to work. It doesn’t help that the mystery elements are so sloppy. There’s a squad room full of suspects, so when the “splatter ” set-ups are disrupted, it’s easy to zero in on the killer’s true identity. An early injection of Tarantino snark, when Zeke does a comic riff on an iconic Tom Hanks role, it doesn’t come close to QT’s pop culture bits (from Madonna to “Green Acres”). All the entrails in “blue boxes” lead up to a climax that’s like a balloon sputtering out it’s last bit of air before its limp plunge to the ground (I was reminded of the last moments of the recent Oscars telecast). Rock is always compelling but the tired gore formula and familiat serial killer tropes just cause SPIRAL to keep spinning its bloody wheel to little effect or real interest. Time to put that worn ole’ saw back in the cinema tool shed.

1.5 Out of 4

SPIRAL opens in select theatres on Friday May 14, 2021

Watch Chris Rock And Samuel L. Jackson In First Clip From Darren Lynn Bousman’s SPIRAL – Hits Theaters May 14

Chris Rock and Samuel L. Jackson star in this first clip from director Darren Lynn Bousman’s SPIRAL.

The film opens in theaters May 14, 2021.

Watch the other new clip from the filmmaker who helmed DEATH OF ME, 11-11-11, and SAW II, III and IV.

See the trailer.

A criminal mastermind unleashes a twisted form of justice in SPIRAL, the terrifying new chapter from the book of Saw. Working in the shadow of his father, an esteemed police veteran (Samuel L. Jackson), brash Detective Ezekiel “Zeke” Banks (Chris Rock) and his rookie partner (Max Minghella) take charge of a grisly investigation into murders that are eerily reminiscent of the city’s gruesome past. Unwittingly entrapped in a deepening mystery, Zeke finds himself at the center of the killer’s morbid game.

SPIRAL stars Chris Rock, Max Minghella, Marisol Nichols, and Samuel L. Jackson, and is produced by the original Saw team of Mark Burg and Oren Koules. The film is directed by Darren Lynn Bousman and written by Josh Stolberg & Pete Goldfinger.

The film is Rated R.

https://spiral.movie/

Photo credit: Lionsgate/Brooke Palmer

Pam Grier in JACKIE BROWN Starts Friday at The Galleria in St. Louis! Tarantino’s Masterpiece!

” My ass may be dumb, but I ain’t no dumbass. “

This Friday, July 10th, Tarantino’s JACKIE BROWN will play for a week at The Galleria Cinema in St. Louis (30 St Louis Galleria St, Richmond Heights, MO 63117) For more info and showtimes, go HERE

When JACKIE BROWN was released 23 years ago expectations were off the charts. It had been three and a half long years since Quentin Tarantino had rocked the movie world with the one-two punch of RESERVOIR DOGS (1992) and PULP FICTION (1994). Since then he had laid relatively low, directing a segment of the anthology FOUR ROOMS, writing the vampire hybrid FROM DUSK TIL DAWN, and performing several forgettable “acting” roles (remember DESTINY TURNS ON THE RADIO? ……didn’t think so.) I remember my own expectations and anticipation for JACKIE BROWN when I first heard that Tarantino had cast ebony action icon Pam Grier in the lead.  I assumed that he was going to take a crack at the Blaxploitation genre that he was a such a fan of and was honestly expecting afros, pimps, and  bellbottoms but, with the exception of it’s lead and some funky music from those films, it turned out to be nothing of the sort. Instead JACKIE BROWN, based on the 1993 novel “Rum Punch” by Elmore Leonard, was a slow-paced mature film that proved Quentin Tarantino was a real storyteller capable of adapting another writer’s work and creating a confident, seasoned narrative while maintaining his own voice as a director. They were Elmore Leonard’s characters, but they lived in Quentin Tarantino’s world.  I think some viewers expecting more of the violence, pace, and tongue-in-cheek postmodernism of Tarantino’s first two films may have left theatres disappointed. There are only four deaths in the two and one half hours of JACKIE BROWN, all by gunshot, and take place more or less off-screen. The eager, in-your-face enthusiasm and energy of the director that defined RESERVOIR DOGS and even more so, PULP FICTION was subdued. The (mostly) straightforward chronology of JACKIE BROWN was a switch and there weren’t nearly as many offbeat conversations about pop culture this time around. Yet JACKIE BROWN is my favorite of Tarantino’s films, the one I’ve watched the most and twelve years on, it’s lost none of its breezy hipness and it’s the rare movie that gets more satisfying with repeated viewings.

The deliberate pace of JACKIE BROWN is established early as Tarantino’s script takes plenty of time establishing all of the characters. The plot, which switches the action from Leonard’s Miami to LA, is elaborate; black forty-ish stewardess Jackie Brown (Pam Grier) finds herself the pawn of several schemes as her sideline as a money courier for weapons dealer Ordell Robey (Samuel L. Jackson) gets her in trouble with federal agents (Michael Keaton and Michael Bowman) dedicated to bringing him down and in contact with aging Bail Bondsman Max Cherry (Robert Forster) who fears for her personal safety. She responds by coming up with an elaborate counterattack of her own and plots with Max to deprive Ordell and his ex-con henchman Louis (Robert DeNiro) of half a million dollars of ill-gotten cash while convincing the feds that she is not a target worth pursuing. JACKIE BROWN is engrossing, character-driven drama and it is evidence to Tarantino’s skill as director and writer that the unfolding crime plot becomes important to an audience that cares about Jackie Brown because the dangers he has placed her into are so convincing.

Tarantino had the clout in 1997 to cast anyone he wanted for JACKIE BROWN and I’m sure most of Hollywood wanted to work with him, and he put together his usual imaginative ensemble of major players, 70’s comeback stars, and fresh blood. Pam Grier was the now-mature siren of  blaxploitation, the star of many 70’s urban classics such as COFFY (1973), BLACK MAMMA WHITE MAMMA (1973), FOXY BROWN (1974) and BUCKTOWN (1975, all available on MGM’s “Soul Cinema” DVD series). With her distinctive mega-fro, Grier was a statuesque, articulate ass-kicker in these films and Tarantino was a huge fan and she’s mentioned in his scripts for both RESERVOIR DOGS and TRUE ROMANCE.  He’d originally considered Grier for PULP FICTION in the role ultimately played by Roseanne Arquette (which would have made her the mate of Eric Stoltz, an actor I can see Pam Grier breaking in half with two fingers), and changed the lead character in Leonard’s novel from a blonde caucasian to an African-American in order to accommodate Grier (in the novel, her name is Jackie Burke. Tarantino renamed her Brown after her character from FOXY BROWN). Pam Grier was 48 when she starred in JACKIE BROWN (though her character claims to be 44) and she gives a strong world-weary performance and is tough and believable when standing up to Jackson’s Ordell. It’s been noted that JACKIE BROWN did not do for Grier’s career what PULP FICTION did for John Travolta but then, how many parts are there in Hollywood for black women pushing 50? Pam Grier did receive some choice roles after JACKIE BROWN and since 2004 has been costarring on TV’s “The L-Word”.

For the tough but sympathetic, bail bondsman Max Cherry ,Tarantino cast 56 year-old Robert Forster. Forster had briefly been a major player in Hollywood, acting alongside Brando and Liz Taylor in REFLECTIONS IN A GOLDEN EYE (1967) and had the lead in the cult films THE STALKING MOON (1968), and MEDIUM COOL (1969) followed by the TV detective show “Banyon”. In the 80’s he was toiling in exploitation films like ALLIGATOR (1980) and DELTA FORCE (1985) and by 1997 Forster must have considered his best roles behind him and was working as an acting teacher. But Tarantino remembered him and, after considering Gene Hackman and John Saxon, gave Forster the part and he was an inspired choice. Forster plays the tricky role rarely changing his expression, a tough feat for any actor. Forster’s performance is the most believable in the film and it’s no surprise that, even in a movie with the likes of Robert DeNiro and Samuel L. Jackson, it was Forster who received the movie’s only Oscar nomination. The heart of JACKIE BROWN is the affection that grows between Max and Jackie. It’s a romance that never quite turns romantic (they became lovers in the novel) and their attraction is always implied, which makes it all the more interesting.

At first, Samuel L. Jackson’s confident Ordell seems a pony-tailed retread a of his Jules character from PULP FICTION, but Ordell is a much darker sociopath than Jules and he gets scarier as the story progresses. DeNiro’s dryly plays Louis as a sloppy underachiever with a hang dog expression but a fatally short fuse and to me his character just gets funnier every time I watch JACKIE BROWN.

Bridget Fonda is droll as Melanie Ralston, Ordell’s nymphet beach bunny girlfriend who contemptuously fixes his drinks and answers his phone. Ordell warns Melanie that watching TV and doing drugs all day will rob her of her ambition. “”Not if your ambition is to get high and watch TV”,” she quickly replies. Tarantino claims to have modeled Melanie after 70’s exploitation queen Candice Rialson, the sexy blonde star of drive-in classics such as CANDY STRIPE NURSES and MAMA’S DIRTY GIRLS (both 1974). In one scene in JACKIE BROWN Melanie is watching DIRTY MARY CRAZY LARRY on TV, a 1974 film that starred Fonda’s father Peter and was one of the films Tarantino claims inspired his later DEATHPROOF. Sid Haig, who co-starred in five of Pam Grier’s best 70’ s films, has a cameo as a judge in JACKIE BROWN and would achieve cult status as Captain Spaulding in Rob Zombie’s HOUSE OF 1,000 CORPSES (2003), and it’s sequel THE DEVILS REJECTS (2005).

Tarantino claims that in developing the script for JACKIE BROWN, he decided on most of the songs during the writing stage. He’s a firm believer that much of the personality a movie has is developed by the music that is going to be in it and he’s never hired a composer to score one of his films. His movies are filled with songs (mostly from the 60’s and 70’s) and musical cues lifted from other films reused creatively. JACKIE BROWN is filled with soul and funk music lifted from Blaxploitation film scores and some of it’s surprising highlights are “Longtime Woman” sung by Pam Grier when she starred in the 1971 women’s prison pic THE BIG DOLL HOUSE, and a cue from Manfred Hubler’s psychedelic score for Jess Franco’s VAMPYROS LESBOS (1971). Bobby Womack’s moving title song from the 1972 crime drama ACROSS 110th STREET plays over the opening and closing credits and a whole generation of film fans must now think of it as the theme from JACKIE BROWN (emotionally perfect, but technically 110th Street is an informal boundary line of Harlem and JACKIE BROWN is set in L.A.). Coincidentally, Pam Grier sang back-up for Bobby Womack before she began her career in film.

It would be six more years before Quentin Tarantino would return to feature film directing with KILL BILL VOL. 1, a bloody and stylish return to form. Both KILL BILLs and DEATHPROOF are great films but JACKIE BROWN, despite its straightforward plot and traditional delivery, remains my favorite Tarantino film. To me it’s the perfect mix of pulp fiction, Blaxploitation aesthetic, and film noir.

THE BANKER – Review

Anthony Mackie, Nia Long, Samuel L. Jackson and Nicholas Hoult in “The Banker,” coming soon to Apple TV+. Photo courtesy of Apple TV+

In the true-story based THE BANKER, two black businessmen have an audacious plan in pre-Civil Rights 1954: use a white former handyman as a front to to buy real estate in whites-only areas of segregated Los Angeles, circumventing then-legal discrimination, with the intention to rent to black lawyers and doctors who integrate those neighborhoods. Having made a fortune with that plan, the pair come up with an even bolder one, to buy a small town bank in Jim Crow-era Texas, with the intention of making home loans available to black families.

Anthony Mackie and Samuel L. Jackson star as the two black entrepreneurs, young, buttoned-down, math genius Bernard Garrett (Mackie) and born-rich, playboy club owner Joe Morris (Jackson). THE BANKER starts out with a fun, caper film vibe to it. Nicholas Hoult plays Matt Steiner, the young white handyman who works for Garrett on the first buildings the would-be real estate entrepreneur buys and renovates in LA, who gets tapped for the role of front The three form an unlikely partnership to do an end run on prejudice and disrupt the rules of real estate in 1954 Los Angeles, then move on to even more ambitious plans for buying a bank in 1963 Jim Crow segregated Texas.

THE BANKER is based on an amazing true story (although why it is “banker” instead of “bankers” is entirely not clear) and so the filmmakers deserves credit for bringing it to the big screen, even though the film has been criticized for historical inaccuracies. This is Apple TV+’s first foray into film releasing, and it features a top-notch cast, nice production values, and an appealing mid-’50s to early ’60s period visual style with plenty of gorgeous costumes and cool cars. However, the film itself is pretty conventional film-making, and not everything about it works, despite the strong efforts of the cast, particularly Mackie. Still, the first half is entertaining, fun and inspirational, with a classic underdog story and a winking caper film approach. Add to that a sepia-toned visual style and loads of period details, it has plenty of popcorn movie appeal. But when the story turns more serious in the second half, when they relocate from California to Jim Crow-era small town Texas, the film struggles to shift from the playful caper film approach to something more appropriate to the more dramatic material, which makes THE BANKER feel a bit like two different films.

This story takes place before the Civil Rights era, when Jim Crow segregation laws severely restricted the rights of blacks in the South, and racial prejudice and restricting neighborhoods to whites-only neighborhoods and redlining were perfectly legal in other places of the US. After a brief prologue to set the period tone, we meet young Garrett in 1954 Los Angeles, as he relocates from his native small town Texas with his wife Eunice (Nia Long) and young son, with an ambitious plan to become a real estate mogul. A math genius, Garrett picked up basics of finance and banking as a young boy, by listening to bankers while he shined shoes outside the town’s bank. Hoping to find some place more open to black entrepreneurs, Garrett is frustrated to find he can’t even get LA bankers talk to him, much less lend to a black man. Eventually, he forms a partnership with a white real estate owner Patrick Barker (Colm Meaney), an Irishman who has encountered prejudice himself, Barker serves as the public face for their real estate purchases, which makes it easier to get loans and buy property in whites-only areas.

When Barker suddenly dies, Garrett is left in a bind, and he turns to the brash Joe Morris for cash to restart. But as two black men looking to buy property in areas still legally restricted to whites-only, they need a white face to negotiate with would-be white sellers. They hatch a bold plan, to re-make Garrett’s working class handyman Matt (Hoult) into the kind of fellow that white bankers and upper-crust real estate moguls will see as one of their own.

This is the most fun part of THE BANKER, thanks largely to the talented cast. Reversing the familiar movie trope, Jackson’s born-rich Joe Morris teaches Hoult’s working-class Matt Steiner how to pass himself off as part of the bankers’ upper-class world, coaching his clueless charge to how to play golf like a pro, which fork to use in formal dining, and generally how to present himself as a social equal to the wealthy bankers. Meanwhile, Mackie’s Garrett launches the overwhelmed Matt on a crash course in finance and math skills, with equally comic results.

They form a partnership in which all three names appear as owners of the properties, although the sellers only ever see Matt. But as the brains and money behind this business, Morris and Garrett are the ones really running the business, and Matt is really more an employee than a full partner. To keep their front on track, Morris even dresses up to pose as a chauffeur, to listen in and provide help in a bind.

In the first half of the film, the caper film style works well and the film is entertaining, largely thanks to the efforts of Jackson, Hoult and Mackie. The heaviest dramatic acting load falls to Mackie, and his strong performance often lifts the film above its conventional trappings and grabs the audience’s heartstrings with a stirring, inspirational appeal.

The scheme proves wildly successful, making the partners lots money while racially integrating large areas of previously segregated LA. But when Garrett returns to his home town in Texas, he confronts the hardships that Jim Crow laws place on the black community. He is seized with the urge to do something for the community where he grows up, and he decides the best way to help is to buy the local bank, and make home loans to worthy black borrowers. However, the idea proves a hard-sell with Morris and Steiner, as it seems more about social activism than just making money – and it is.

THE BANKERS starts out strong with its winking caper film vibe, and there is a lot of fun as the three partners circumvent the racial restrictions of 1954. However, when the film shifts to more serious territory in the second half, as the partners take on buying a bank in a small town in 1963 Jim Crow Texas, the film’s playful caper film vibe has to give way. And it does, largely, but the change is not smooth and makes it feel like two different films. When the partners become embroiled with a Southern senator who wants to change banking rules for his own political advantage, things get really dicey. Further, returning to the caper film style near the film’s end feels particularly awkward.

THE BANKER has its flaws but deserves credit for presenting this untold true story of creative black entrepreneurs, and for the fine work of its talented cast. THE BANKER opens Friday, March 6, at the Chase Park Plaza Cinema.

RATING: 3 out of 4 stars

SPIDER-MAN: FAR FROM HOME – Review

Wallopin’ web snappers, that’s one busy lil’ bug. Sorry, arachnid, I know. I’m speaking of our “friendly neighborhood” Spider-Man. In particular, the hero as played by Tom Holland. After all, he was introduced to us only three years ago, when Sony Studios (so very wisely) handed over the creative reigns of the character’s live-action film franchise to the Disney/Marvel Studios. But Sony could still do (and does) spin-offs (like last year’s VENOM) and animated films like the Oscar-winning SPIDER-MAN: INTO THE SPIDER-VERSE. Of course, Holland follows in the spandex boot steps of Tobey Maguire (2004-06) and Andrew Garfield (2012-14). Now the webbed wonder was part of a bigger movie “playground” and immediately swung into the “big brawl” in 2016’S CAPTAIN AMERICA: CIVIL WAR. He got his first solo flick (with a big assist from Iron-Man and an inspired cameo from Cap) the next Summer. And naturally, he was part of the epic Avengers clash with Thanos that concluded about two months ago. Wow, this dude deserves a vacation. So after a harrowing HOMECOMING, here comes SPIDER-MAN: FAR FROM HOME. Do you really think you’ll get a little R&R, young Mr. Parker? Okay….

This globe-trotting adventure starts in a Mexican village that’s the site of a destructive disaster. But not a natural one. That’s why Nick Fury (Samuel L. Jackson ) and Maria Hill (Cobie Smulders) arrive to investigate. Moments after stepping out of their vehicle, the two are threatened by a towering creature. Then out of a green cloud, a caped man mounts a counter-attack. Back in the “Big Apple”, the students of Midtown High are still dealing with the aftermath of “the blip”. That’s their phrase to describe the “Thanos snap”, which sent about half of the student body into a five-year limbo. When they returned the kids hadn’t aged while those not “blipped” did (lots of awkward moments, for sure). Despite that disruption, Peter Parker (Holland) and BFF Ned (Jacob Batalon) are psyched for the Science Club’s big tour of Europe. Ned’s daydreaming of an overseas romance while Pete is hoping to get closer to MJ (Zendaya). That night, as Spider-Man, he helps Aunt May (Marisa Tomei) with a charity fund-raiser for those affected by the blip. Backstage, Happy (Jon Favreau) drops by with a big check, but Pete suspects that he’s there for May (“eeyeww”). Happy warns Pete that Nick Fury wants to talk to him, but Pete sends his call to voicemail. The next day Pete and his pals are on the big flight, first stop Venice. All’s well until another dangerous titanic monster emerges from the canals. Luckily the caped man appears and teams up with Pete. Later he discovers Fury waiting for him in his hotel room. The two go to Fury’s secret base of operations where they meet Maria and the “caped man” who calls himself Quentin Beck (Jake Gyllenhaal), though the local media dub him “Mysterio”. He explains that he came to our Earth through a dimensional rift from his version of Earth (another oddity caused by Thanos). Unfortunately, the monsters that destroyed his planet, “the Elementals” (Earth, water, etc.), followed him. The worst of them, “Fire” is still at large, and Fury wants Spidey’s help. But Pete can’t since he’s with his high school crew (if they see Spidey then they’ll put “two and two together”). Does he think that Fury will take no for an answer? And more importantly, when will Pete get some “alone time” with MJ? Talk about a “long, strange trip”.

Once again, Holland is the perfect embodiment of the beloved pop culture icon. This time though he gets to bring more emotional shadings to Peter and his alter ego. Through his mournful eyes, Holland shows us that he’s still dealing with the loss of an adored fallen friend (better play it safe in case there those unaware of the epic finale of this year’s biggest blockbuster), whose image seems to be everywhere. But then there’s the possibility of romance as Holland behaves like an excited puppy as he plots and plans to “woo” MJ. And there’s the anxiety about having to “step up to the plate” to battle these otherworldly menaces. That’s where Gyllenhaal’s Beck figures in. With his empathetic gaze and somber sense of gravitas, which gives an added punch to his tragic backstory, Beck seems to be the mentor/big brother/ father figure that Peter needs. Plus Gyllenhaal makes a decisive action hero, working that dark magenta flowing cape (a good contrast to his fluorescent green bodysuit) like an old fashioned swashbuckler. Oh, speaking of “father figures”, the cranky demanding “bad Dad” to Beck’s nurturing, encouraging “good Dad” is Jackson in his third “go-around’ this year (!) as Fury. The perpetually P.O.’ ed superspy has no patience for Pete’s teenage concerns and will get his mind on the “right track”, something that Pete really does need. Plus it’s great to see Jackson paired up once more with Smulders as the tough, no-nonsense Hill.

Here’s a nifty full page splash from Spidey’s co-creators in 1963’s Spider-Man Annual #1. Dialogue by Stan Lee. Art by Steve Ditko

While the above-mentioned actors handle most of the big action set pieces of the story, a terrific supporting cast adds wonderful comic relief and some provide the tale’s big emotions. That’s the case with Zendaya who still slays with a snarky insult as the very cool MJ. In this flick, Ms. Z shows us that the air of detachment is a wall she puts up to conceal her true feelings, at times a defense barrier, one that is slowly being taken down, brick by brick, by Pete’s sunny honesty (maybe not about everything). She’s a good action heroine, rather than another “damsel in distress”. Then there’s the always enthusiastic, optimistic Ned played with great comic timing by Batalon whose unexpected subplot yields lotsa’ laughs. Also hilarious is Tony Revolori as the taunting, arrogant Flash Thompson, whose bravado may also be a defense against an inner turmoil (a touch of pathos). Tomei as “Aunt” May is still Pete’s always encouraging supportive anchor, but now she’s his partner, bouncing back from the shock of the revelation at the end of the last film. It’s no wonder that she attracts the attentions of Happy Hogan, played with blustery gusto by Favreau. He and Pete share an affection for her along with a sense of loss for a friend (again, avoiding a spoiler). He could be more of an affable “Dutch uncle” who frets over Pete as often as he’s frustrated by him. There are many inspired “pairings’ in the film, but the funniest may be the class trip faculty chaperones played by the fabulous comic actors Martin Starr (seems like he was just a student on the TV treasure “Freaks and Geeks”) returning as Mr. Harrington and J.B. Smoove (HBO’s “Curb Your Enthusiasm”) as driving instructor from the 2017 promotional short, Mr. Bell.

And here’s the conclusion of Mysterio’s initial appearance on the 1960’s Spider-Man Saturday morning cartoon

Returning director Jon Watts gives us another thrilling superhero epic, though he’s going for a different “vibe” this time around. Unlike Homecoming, he’s not going for the big laughs, often with slapstick “payoffs” in the web-swinging battles. After an opening scene or two dealing with the tragic finale of the last MCU release, the story, aside from the monster attacks, settles into an update/reboot of the romantic teen comedy/dramas of the early 60s, like WHERE THE BOYS ARE, ROME ADVENTURE, or A SUMMER PLACE, with young people falling for each other in exotic locales. But credit screenwriters (also Spidey vets) Chris McKenna and Erik Sommers for balancing the “hearts and flowers” couplings with a plot full of twists and turns, deceptions and determination. Like ENDGAME it dives very very deep into the whole Marvel “movie-verse” to throw us plenty of curves. Unfortunately, the conflict gets a tad tech-heavy, with Spidey almost becoming a computer game avatar in the big London-based climactic showdown. The wallcrawler works best against flesh and blood adversaries like the Vulture (and Kingpin in last year’s animated film) where it becomes a “mano y mano’ battle of wills. Still, there are some remarkable sequences, particularly as Spidey tries to survive a true waking “nightmare” in which his innermost fears spring to vivid ferocious life (and using some creative comics images). The European location work is most impressive (maybe some savvy company will put together a travel tour based on this flick) and the stunt work is astounding (with Pete out of the spandex for a couple of scenes), though that ending may be too visually “busy”. Still, it’s an entertaining, thrilling romp with a mid-credit sequence promising an interesting new direction (of course, you know to stay through the credits). Audiences will be happy that they were caught up in the tangled web of SPIDER-MAN: FAR FROM HOME. Now, where’s that passport?

3.5 Out of 4 Stars