Tag: sony studios

GRAN TURISMO – Review

Hey, as the Summer movie season races (hint) to that Labor Day finish line (again), the studios aren’t quite done with toy-based stories. In that aspect, a new box office champ has been crowned with the “pink princess” zooming past those video game plumbing icons. Now, this new release leans into the latter’s territory as its roots are in the gaming world. Oh, and like the “under the radar” TETRIS flick, it is actually based on a true story, This isn’t a twist on the old “Cold War Cloak and Daggar” thriller like that one or even an “origin story” of the game’s creation. Instead, this is closer to an old-fashioned, grit and glory, sports underdog fable, Yes sports, as we follow one determined young man whose dreams become reality when he enters the world of GRAN TURISMO.


I should clarify that the film does begin with a bit of an origin story as the prologue tells of the FI racing simulation game from Sony PlayStation that became an international sensation following its debut in 1997. Its fame inspires Nissam marketing exec Danny Moore (Orlando Bloom) to pitch a radical idea to the auto giant’s board of directors. Monitor the online version’s biggest scorers and enlist them in a contest to find an online gamer who can (after rigorous training) become an actual racing champ. To Danny’s surprise, the bosses give him the OK, if safety is a major factor in this unique promotion. Now Danny’s got to find a racing vet to supervise the “plebs”, getting down to the last name on the list (lots of brisk “no’s”), the former driver now pit crew boss for rival Capa, Jack Salter (David Harbour). Many miles away in Cardiff Wales, college-age (he’s taking a “break” to be a “retail drone”), Jann Mardenborough (Archie Madewke) lives for the newest versions of GT, much to the chagrin of his former football star pop, Steve (Djimin Hounsou). The two really clash over Jann’s future goals. And then Jann gets a frantic call from his pal who manages an online video arcade/cafe. The Turismo game’s home screen is looking for him due to his impressive scores. He’s got to register online and then play the qualifying game at a specific designated time against gamers from around the globe. Despite a major dust-up with Dad, Jann makes it there, and thanks to the influence of his mum Leslie (Geri Halliwell Horner), he’s on his way to the GT Academy in Silverstone. There he quickly forms a bond with the other players from around the globe, while trying to impress Moore (he wants Jann to be more “camera-ready”) and Salter, who insists he’ll veto everybody f they endanger themselves and other racers. But Jann prevails and soon sets out to get his pro license (gotta’ come in fourth in at least one race), and garner some respect from the other pros (even his pit crew is leery of a “sim-racer”). When tragedy strikes, can this rookie charge ahead and make it all the way to the “24 Hours of Les Mans”?

Although he’s not behind the wheel, the film’s best performance is perhaps Harbour as the mentor in the pit, often barking orders into his communications device. As Salter, Harbour calls upon the skills he has honed after the last decade or so as the crusty but kind “pseudo-papa” on “Stranger Things”. Sure he uses a bit of his “snark” while butting heads, but Harbour also shows us the sadness in Jack’s weary eyes as he recalls his past regrets while trying to warn his young charge. After the recent HELLBOY “reboot/misfire”, it’s good to see that Harbour is back with a strong role in a budding franchise. It helps that he has a great on-screen rapport with Madewke, who conveys the unbridled joy of a young adult finally getting a chance to spread his wings, while also attempting to not self-destruct over the burden of this big “risk”. At one point Jann is ready to start “folding clothes”, but Madewke shows us that his spirit has not been broken despite crushing setbacks. Plus he’s got great chemistry with the actor playing Jann’s actual pop, the intimidating Hounsou brings the proper gravitas to Steve who adjusts his attitude and begins to make steps toward an understanding of his son’s passions. The only misstep in the cast may be in the badly underwritten role of Moore. He’s meant to be a lovable huckster, a mesh of Harold Hill and Jerry Maguire, but the talented Bloom is regulated to flashing a frozen grin as he leaps about during manic “sales pitches”. He’s better and deserves better. Also of note is the sneering villain of the piece, Josha Stradowski as the unrepentant, arrogant Nicholas Capa. He’s the sour counterpart to the sweet, but still “spicy”, Halliwell-Horner as the nurturing matriarch.

This sports underdog tale (kind of a high-octane megabit ROCKY) may seem an odd choice for director Neil Blomkamp, perhaps best known for his sci-fi satires DISTRICT 9 and CHAPPIE, but he keeps the pace flowing smoothly while giving us a great teacher in Harbour’s Salter. And he really makes auto racing accessible to FI “newbies” with the use of freeze-framing and graphic “arrows” that let us know just how Jann is faring. Plus there are some interesting uses of computer graphics that “build” the car around Jann during big dramatic sequences that illustrate the complex mechanics at work. And there’s the adrenaline rush in the pit area as they try to get Jann back on the track. Of course, we also get the view from the steering wheel as Jann inches ahead of his rivals (it’s not just accelerating and turning left as you can get “boxed in” and “bumped”). We’re taking to several exotic locales as the “circuit” ramps up. What almost scuttles the story is the “tacked on” romantic subplot for Jann which feels unneeded (much like the romance in THE CAINE MUTINY). Still, it’s a compelling real-life fantasy dream, recalling the video game recruitment 1980s classic THE LAST STARFIGHTER (now Robert Preston. even as a lizard-alien, might have made Danny Moore “work”), and those speed-lovin’ “gear-heads” will want to “pop the clutch” in their multiplex theatre chairs to the thrills and heart of GRAN TURISMO. And there’s the checkered flag…


2.5 Out of 4

GRAN TURISMO is now playing in theatres everywhere

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

THE GIRL IN THE SPIDER’S WEB: A NEW DRAGON TATTOO STORY – Review

It’s reboot time once more, but this one’s not another entry in the horror genre, as the recent HALLOWEEN and SUSPIRIA, but it does have a connection, though slight. The source flick doesn’t go back 40 years, merely seven. That’s when Hollywood decided there needed to be an English-language film adaptation of a book series that was an international sensation. Steig Larsson’s THE GIRL WITH THE DRAGON TATTOO was a huge hit inspiring a film version of that and its two sequels in his native Sweden. Ah, but America could certainly make it into a monster hit, and even though that foreign language trilogy played here at the “art house” cinemas, Sony Studios brought in director David Fincher (FIGHT CLUB) and screenwriter Steve Zaillian (SEARCHING FOR BOBBY FISHER), and cast Bond himself Daniel Craig along with relative movie newcomer Rooney Mara. The results were…tepid. This was not to be the start of a franchise, so the plans for a US trilogy were scrapped. But much has happened since 2011, mainly the MeToo and Time’sUp movement making headlines with horrific stories of sexual intimidation, harassment, and abuse of women. Perhaps the time is exactly right for the story of a lone female swooping in to exact justice on the powerful men that pummel and degrade. Maybe audiences are ready for the return of Lisbeth Salander, in a different tale, now known as THE GIRL IN THE SPIDER’S WEB: A NEW DRAGON TATTOO STORY.

This “new story” actually starts with a flashback. In a dark mansion, far from the cities of Sweden, ten-year-old Lisbeth Salander plays chess with her slightly older sister Camilla in their gloomy nursery. A servant breaks the silence, summoning them to their father’s master bedroom (mother is out of the picture). When Lisbeth realizes his demented intentions, she backs away toward the balcony, several stories above the snow covered grounds. She gives her sister a pleading stare, but Camilla will not join her escape. Lisbeth tumbles into the nearby woods and disappears. In the present day, she is wanted by the Stockholm police for a series of attacks on prominent men, who were usually beating and raping their wives, co-workers, and daughters. After her latest job, she speeds her motorcycle back to an empty old warehouse and awaits her next “assignment”. Meanwhile, her crime-fighting aide, reporter Mikal Blomkvist (Sverrir Gudnason) complains to his married/editor lover Erika (Vicky Krieps) about their news magazine’s arrogant current owner. Lisbeth (Claire Foy) is not waiting very long. She must use her considerable computer hacking skills to retrieve a dangerous piece of software from the US and return it to its creator Fran Balder (Stephen Merchant). Balder’s work, dubbed Firefall, can give a single user complete access and control of all nuclear missiles and rockets hidden in silos around the world. She is so skilled that only Edwin Needham (Lakeith Stanfield) is alerted of the program’s removal from the US security systems. Somehow word leaks out and Lisbeth’s home is set afire by masked gunmen who grab her laptop with Firefall installed. The same gunmen go after Balder and his pre-teen son August (Christopher Convery) when they are given protection by the local police. With intel from Mikael, Lisbeth learns that she was the target of the Spider Gang, a brutal band of Russian assassins. Can she keep two steps ahead of them, the police, and Needham and take back Firefall before it gets into the wrong hands. And just who is the mysterious leader of the Spiders?

The title pretty much sums up this thriller, mainly that Lisbeth played by the very talented Ms. Foy is “front and center”. Just weeks after her stunning supporting turn as Mrs. Armstrong in FIRST MAN, she proves her ability to carry a film as a dynamic action star. Her character is an avenging angel in black, in her first adult sequence literally wrapping up a bully in her web, submitting him to physical (and financial) punishment. But Foy makes this super-heroine very human. We see the fear in her eyes as she realizes that the odds against her may be overwhelming. And she pays a price for her actions in pure pain, whether stapling shut an oozing wound or careening off her cycle. Foy shows her as a haunted, lonely soul who can barely exist between “jobs”. It’s a complex, compelling performance. Unfortunately, her supporting cast are saddled with very simple, sometimes cliched characters. There’s not a strong connection between Lisbeth and Mikael, who’s played by Gudnason like a sullen co-worker, reminding me of Beck Bennett playing a befuddled Nordic tourist in an SNL sketch. Sylvia Hoeks, so good in BLADE RUNNER 2049, is pure deadpan banal evil as an enigmatic woman in red. Comic mastermind Merchant is quite compelling as the guilt-ridden scientist and divorced dad, sort of a modern internet Victor Frankenstein, trying to recapture his monster before it devours the planet. Stanfield is cool and confident, a man on a mission, who slowly begins to admire Lisbeth and her crew. And there’s some good comic relief from Cameron Britton as Lisbeth’s computer consultant/tech wiz only known as “Plague”.

So, you recall my mention of a “horror connection”? Well, that’s because the film’s director, Fede Alvarez, made a name for himself for the one-two box office punch of the 2013 EVIL DEAD reboot and the very entertaining “sleeper hit” of 2016 DON’T BREATHE. Now he’s made his debut as an expert action director, though there are several chilling scenes. Most notably, it’s the reveal of the Spider Gang’s stomach-churning retaliation against a former member who got too “chatty”. Whew, that’s the stuff of nightmares, along with a skin-tight back leather cocoon (hooked up to a device sucks in any air). Fede also co-wrote the script with Jay Basu and Steven Knight (basing it on the book by David Lagercrantz using Larsson’s characters), which has a definite Bond/Bourne feel with its software “MacGuffin” that turns deadly weapons against their makers. But unlike those “super spies” Salander, in the opening scenes, is a champion for individuals rather than countries. With her black hood and jumpsuit, accented by a white makeup mask about her eyes, she’s a near unstoppable “bat-woman” or even a “lady Punisher”, who’ll give these very very bad men “just what they got comin’ to ’em”. We do see a few of the plot twists “coming across the fjords” (another faked suicide, eh), but Foy is so terrific and the action set pieces are so nail-biting, that we can forgive and almost forget as we wonder whether she can survive. It’s not much of a spoiler to say that this will hopefully spark another (not saying franchise or even trilogy) thriller involving THE GIRL IN THE SPIDER’S WEB.

4 Out of 5