THE OLD GUARD (2020) – Charlize Theron Action Fantasy is Old Hat

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In THE OLD GUARD (2020), you have Charlize Theron playing the leader of a small band of immortal mercenaries who travel the world in search of missions to do good for humankind.

Sounds pretty cool, right?

I thought so. But sadly it sounds better than it actually is. Yes, even though THE OLD GUARD is getting positive word of mouth and decent critical reviews, I was a bit underwhelmed. Maybe my expectations were too high?

Nah!

Andy (Charlize Theron) has been fighting the good fight for centuries. Yup, she’s an immortal warrior who has been saving the day forever. Literally. Yet, she feels increasingly frustrated because in the here and now the world is worse than ever, and she feels that in spite of all her efforts through the years she has not made a difference.

Presently, she leads a small group of fellow immortals which include Booker (Matthias Schoenaerts), Joe (Marwan Kenzari),  and Nicky (Luca Marinelli). When they are hired by an ex-CIA operative named Copley (Chiwetel Ejiofor) to rescue a group of abducted children in Sudan, they are ambushed, and they discover that Copley had set them up, as evidently he has another agenda, and it has to do with a villain named Merrick (Harry Melling) who is very much interested in learning the secret of this group of heroes’ immortality.

Around the same time, a young U.S. soldier in Afghanistan, Nile (Kiki Layne) is killed, only to come back to life, and the group realizes a new member has emerged, so in addition to fighting Copley and Merrick, they have to find and recruit young Nile, who is not in the least interested in joining this group of heroes.

Oh, and by the way, we also learn that these heroes aren’t really immortal. Come again? See, they just have very long life spans. They can still die. Eventually. They just never know when.

How terribly— inconvenient.

I was excited to watch THE OLD GUARD, mostly because of the presence of Charlize Theron, whose work I enjoy a lot, and also because I thought the film had a very cool premise.

Now, Theron is as good as expected. She’s excellent as Andy, although I didn’t find the role all that interesting. For example, early on she laments that she simply hasn’t made a difference, that the world is worse than ever, yet this angst never becomes a driving force in her personality. And while her choreographed fight scenes are very good, they’re not great. Her action scenes in ATOMIC BLONDE (2017) were superior.

But the film’s premise I thought was lacking, and it wasn’t as innovative and exciting as I expected it would be. It’s a rather blah screenplay by Greg Rucka, who also wrote the graphic novel series on which this movie is based. The dialogue is pretty standard and doesn’t rise to the level of an electrifying superhero movie.

The plot also has issues. Their mission isn’t terribly exciting, mostly because it’s not really a mission! When the film opens, and they are sent to rescue abducted children, that mission had promise, but it turns out that was only a set-up. For the rest of the movie, they are only doing two things. One, seeking out Copley and Merrick, and this is only for their own self-preservation, and two, recruiting and training Nile.

Yawn.

It’s a classic example of a film that was made to spawn a series, with the set up for the next film being  now that we’ve assembled this group of heroes let’s send them on an exciting adventure in the next movie! Why not just do that in this movie??? What a terrible waste of time. This happens a lot in these types of movies. SUICIDE SQUAD (2016) was another example.

Merrick is also a pretty ineffective villain. He doesn’t have much of an agenda, and he has zero screen presence.

Actually, none of the characters in this one are all that interesting. It’s a rather dull band of immortal heroes.

Director Gina Prince-Bythewood does an okay job. The action sequences are decent but not outstanding. The pacing of the film is also rather slow. The film runs just over two hours and it felt like it.

THE OLD GUARD is a Netflix original, but it is nowhere near as good as a previous Netflix original action movie, EXTRACTION (2020), which had some of the best and most intense action sequences in any movie I’ve seen this year.

The cast didn’t really wow me. Chiwetel Ejiofor, however, does add fine support as Copley, and the character undergoes a transformation in the film which sets him up as a key player in the sequels, and I do believe Netflix is planning to make more of these movies.

And while there are some decent scenes in this one— a sequence on a plane is one of the better ones in the movie, for example— there’s simply not enough of them to lift this flick to the upper echelon of superhero action movies.

It’s also rated R, yet I hardly noticed. I don’t think it earned its rating all that well.

THE OLD GUARD is a film filled with promise. With Charlize Theron leading the way, this group of heroes should be one worth watching and rooting for. Sadly, for most of this film, due largely to a standard and rather unimaginative screenplay, that’s not the case.

Since there is a second film in the works, it looks like we’ll just have to wait for the sequel.

And that’s because THE OLD GUARD is all rather old hat.

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EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA (2020) – Will Ferrell Musical Comedy Is Much Better Than Expected

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For starters, the title is awful— EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA— it sounds like a teen fantasy novel gone wrong— and it stars and was written by Will Ferrell, whose work I’ve enjoyed less and less with each passing year. But yet—

—-yet, EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA (2020) is actually a really good movie, one that gets better as it goes along. It’s also one of Ferrell’s best films in years.

Lars Erickssong (Will Ferrell) has dreamed his whole life of winning the famed Eurovision Song Contest for his home country of Iceland, so much so that he has devoted his entire life to the endeavor, much to the chagrin of his father Erick (Pierce Brosnan) who makes it no secret how ashamed he is of his son’s “foolish” dreams. But Lars’ best friend Sigrit (Rachel McAdams) feels otherwise and together they make up the band Fire Saga and work each day to achieve their goal of making it to Eurovision.

Trouble is, they’re not particularly good, and they have established the reputation in their village as being pretty darned awful, which is a major reason why Erick thinks his son is wasting his life away on a dream rather than working.

But fate intervenes when Iceland needs one more entry for their national competition, and so they select a band randomly, which turns out to be Fire Saga. While Lars and Sigrit are overjoyed, as expected, they do not win, and hence don’t qualify for the trip to participate in Eurovision. But “fate” intervenes again when a ferry boat carrying every single Ice Landic act who placed ahead of Fire Saga mysteriously explodes in a fiery inferno, leaving as the only act left– Fire Saga. Suddenly they are on their way to Eurovision!

And that’s what the bulk of the movie is about, Lars and Sigrits’ adventures as they practice and prepare to particpate and somehow win the Eurovision competition.

Okay. On the surface, this plot sound silly, trite, and dumb, but it really isn’t. There’s a lot going on here.

The beginning of EUROVISION SONG CONTEST is very silly and humorous, as some of Fire Saga’s awful music numbers are laugh out loud funny, and so the feeling is, this is going to be a goofball comedy perhaps satirizing shows like Eurovision. But that’s not the direction the movie takes.

EUROVISION SONG CONTEST is really about two things. For one, it’s a love story between Lars and Sigrit, which at first sounds funny, because the idea of Will Ferrell in a love story is— well, laughable. And Ferrell is himself here, meaning he’s goofy, but he does channel an exhuberant innocence the way he did as Buddy the Elf in what I think is still his best movie, ELF (2003). Lars is also super focused on winning the contest, and so he barely notices Sigrit who definitely has feelings for him.

And so the love story is driven by Sigrit and by Rachel McAdam’s spirited performance as the character, as she delivers by far the best performance in the movie. She believes in Lars and during their journey together falls in love with him but hesitates to be up front with her feelings because she doesn’t want to ruin their art together.

Which is the second thing EUROVISION SONG CONTEST is really about, the making of art. These two characters devote their lives to a cause, and for Sigrit it’s more about performing than winning, while Lars just wants to win, but they both have something to say with their music. And they say it.

They both also see the world as artists do. So when Sigrit speaks of believing in elves, which on the surface is a statement about superstition in Iceland and is in the movie for comedic value, on a deeper level, it’s about a figurative way of thinking that allows artists to see things in ways that others don’t and to believe in things that others don’t. It’s why art— music, films, books, paintings— can change the world.

Now, I know this sounds too deep for a Will Ferrell movie, but these elements are all in the script, which is why I liked this one so much. Beneath this silly musical comedy about an unlikely singing duo, there’s a subtext which speaks and speaks well about what it is to be an artist. It’s a really good screenplay by Ferell and Andrew Steele.

It also gets the humor right. There are several laugh out loud moments in this film, from the outrageous bands in the contest and some of their numbers, to the playful banter between Lars and Sigrit, to some over the top sequences where Lars’ innocent silliness is on full display. Ferrell enjoys a lot of funny moments here.

And the end of this movie is really moving. You’ll actually forget how this one started, as a seemingly silly spoof, and be moved to tears by the emotional impact of its conclusion. Seriously!

As I said, this is Will Ferrell’s best work in some time. While most of his recent films have been meh, and in fact I haven’t loved a Ferrell movie since ELF, he steps it up big time here with EUROVISION SONG CONTEST. While Lars is never ordinary, he is sincere, driven to win to a fault, and in spite of his innocent offbeat silliness he’s believable.

He’s also complemented by Sigrit, brilliantly played here by Rachel McAdams. Hands down, McAdams gives the best performance in the movie. I like McAdams a lot, and she has delivered some memorable performances over the years. I especially enjoyed her work in SPOTLIGHT (2015) and she was hilarious in the very funny comedy GAME NIGHT (2018) in which she starred alongside Jason Bateman.

Here, McAdams plays Sigrit as an artist inspired by Lars and moved by him to be the best singer she can be, something that is sadly lost on him for most of the story. Her enthusiasm for her craft is infectious, and she and Ferrell have excellent chemistry throughout and are enjoyable together during the entire movie. McAdams effortlessly traverses between silly and serious and she makes Sigrit one of the more interesting characters I’ve seen in the movies this year.

Pierce Brosnan adds solid support as Lars’ father Erick, who for most of the movie is embarrassed for his son. Brosnan doesn’t play the character in a cliche over the top way. His contempt for his son is deep and real, and Brosnan nails the emotion throughout.

Dan Stevens is also excellent as Alexandar Lemtov, Russia’s contestant in the Eurovision contest and the odds-on favorite to win the entire competition. He also has eyes for Sigrit. Like the rest of the movie, Steven’s performance is a mix of over-the-top humor and subtle subtext. In Lemtov’s case, he’s a closeted homosexual who laments that Russia doesn’t allow him to live his life the way he wants.

Directed by David Dobkin, EUROVISION SONG CONTEST: THE STORY OF FIRE STARTER in spite of its God-awful title and presence of Will Ferrell which would lead one to believe this is just a goofy comedy, is really a movie that supercedes expectations and is one of the more entertaining and enjoyable films I’ve seen this year.

Dobkin gives this one so much energy it flies by and even though it’s a two hour movie it seems much shorter than that. It’s full of memorable music numbers, has a surprisingly literate script by Will Ferrell and Andrew Steele, and features wonderful performances by Ferrell and more so by Rachel McAdams.

So, ignore the title, and the fact that Will Ferrell is playing an over-achieving singer and songwriter. EUROVISION SONG CONTEST: THE STORY OF FIRE STARTER is a treat of a movie, one that offers both surprises and laughs throughout, and finishes with an emotional conclusion that is above and beyond what one would usually expect for this type of movie.

You might even find yourself believing in elves!

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ALL DAY AND A NIGHT (2020) – Chilling, Disturbing Portrait of Black Life in America

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Ashton Sanders and Jeffrey Wright in ALL DAY AND A NIGHT (2020).

If you want to know what it’s like to be a black man in the United States in 2020, then you need to watch ALL DAY AND A NIGHT (2020), a Netflix original movie that tells the story of a young man stuck in a hopeless fate that rings all too true.

When ALL DAY AND A NIGHT opens, we witness Jah (Ashton Sanders), a young black man from Oakland, California, shoot and kill another black man and his girlfriend in front of their teenage daughter. Jah is sentenced to life imprisonment, and it’s there through a series of flashbacks that we learn his story.

Jah grew up in a household where he was mostly raised by his mother Delanda (Kelly Jenrette) and grandmother Tommetta (Regina Taylor) because his father JD (Jeffrey Wright) is in and out of prison and rarely home. In fact, as Jah explains, that’s how it is for nearly every family in the neighborhood. The dads just disappear.

Later, when Jah is in prison, he’s not only reunited with his father, but he sees all those folks who disappeared during his childhood. They’re all living in prison.

Even as a young boy, Jah knows he wants to do something more with his life which is why he gravitates towards music, but inside he knows he’s not going anywhere. His mom and dad constantly argue over his fate, as his mother swears that her son is not going to end up like her husband, but JD argues that he has to teach his son street smarts or else he’ll never survive, which is why he beats Jah when a local bully steals his toy. Jah learns at a young age to hit hard and go on the offensive, making sure that other kids will not mess with him.

As a young adult, Jah and his best friend TQ (Isaiah John) navigate through a world of music, drugs, and gangs, with all of these things intertwined in a dangerous soup of murder and violence. Jah keeps away from the drugs, but his reputation for being a tough fighter catches the eye of local gang leader Big Stunna (Yahya Abdul-Mateen II) who keeps Jah close with the intention of grooming him to be his muscle.

Jah’s other friend Lamark (Christopher Meyer) vows to do things the right way and escape the confines of their neighborhood and their fates. He joins the army but returns an invalid.

Even as Jah enjoys a relationship with his girlfriend Shantaye (Shakira Ja’nai Paye), who’s pregnant with their baby, he can’t resist the allure of his neighborhood’s code of ethics, that matters can be solved by violence, and that one takes care of one’s own problems, which is what he does, a decision that lands him in jail for life.

But he does it because he honestly doesn’t see anything else to live for. As Jah says in the movie, the judge when sentencing him told him he was seeing his last days of freedom, to which Jah responds that he never ever felt he was free in the first place.

And that’s the somber, depressing tone throughout ALL DAY AND A NIGHT. These men live in a world where there is no hope. They see their fathers, brothers, and friends go to prison. They struggle to find jobs, especially with a prison record, and as JD laments, not only won’t people hire him, but his prison record prevents him from getting food stamps, which only makes his ability to provide for his family even more difficult.

On top of all this, Jah and his friends are hounded by the white police, and when Jah takes a retail job in a shoe store, he’s often not recognized as an employee by the white customers who look at him with a suspicious eye, or worse, who actually ask him what he’s doing carrying shoe boxes, the implication being that they think he’s robbing the place.

ALL DAY AND A NIGHT paints a bleak picture of black life in Oakland which speaks to black life throughout out the nation. Writer/director Joe Robert Cole has made a no frills slice of life movie that offers a hopelessly depressing view of its subject. The dialogue is gritty and raw, the violence shocking but not glorified.

The acting is excellent. Ashton Sanders is perfect as Jah, a young man with hopes and dreams who is also a realist, and as such, falls back on what he believes is real, his fists and acts of violence, things he learned from his father. Sanders of course starred in MOONLIGHT (2016).

Jeffrey Wright plays Jah’s father JD, in a role that for most of the film doesn’t evoke a lot of sympathy, even though his life his hard, because of the harsh way he raises his son Jah. But in a juxtaposition of scenes, we witness Jah being born and JD predicting all the wonderful things he believes his son will do, that he wants to give him a better life than he had, and then we switch to the two men sitting in prison together, where Jah offers to teach his dad gardening, in an effort to form a bond finally and give something back to his father.

Wright has been in a bunch of movies, including playing Beetee in THE HUNGER GAMES films, and he played Felix Leiter opposite Daniel Craig’s James Bond in CASINO ROYALE (2006) and QUANTUM OF SOLACE (2008). He’s slated to play Commissioner Gordon in the upcoming THE BATMAN, which is set for a 2021 release.

Kelly Jenrette has some fine moments as Jah’s mother Delanda, as does Shakira Ja’nai Paye as Jah’s girlfriend Shantaye. I also enjoyed Isaiah John as TQ.

ALL DAY AND A NIGHT paints a disturbing picture of life in the U.S. for black males, but it’s one that goes a long way towards achieving an understanding of why things are the way they are.

As such, it’s required viewing if you really want to know and understand more about the racial divide which currently exists in the United States.

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THE DECLINE (2020) – Solid Thriller Speaks to Current Uncertain Times

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In order to live you have to survive.

That’s the mantra of Alain (Real Bosse), a survivalist and the main character in THE DECLINE (2020), a new thriller about a group of folks training at an expansive compound deep in the Canadian wilderness in order to prepare for the end of the world. All goes well until a mishap sends them reeling, and suddenly all their training falls by the wayside when the disaster they’d been preparing for unexpectedly happens within their ranks.

THE DECLINE opens with Antoine (Guillaume Laurin) training with his wife and daughter as they run drills and prepare food to last for years as they expect society as we know it to end in the not so distant future. They heed the advice of a survivalist guru named Alain as they watch his videos online. When Alain invites Antoine to join him at his compound, Antoine is happy to oblige.

Once there, Antoine meets a small group of other survivalists, all there to receive extensive training from Alain. For a while, life is good, as they are all satisfied with Alain’s training, but when an accident occurs claiming the life of one of their own, panic ensues over just how to deal with a death at the compound, a panic that immediately tests everything they had been preparing for.

THE DECLINE is a Netflix original movie, and the first Netflix Quebec collaboration. As such, it’s a French language production. Strangely, Netflix chose to dub the film in English, which detracts from the authenticity of the film. I would have preferred the original French language with English subtitles. But this is about the only thing about this one that I didn’t like.

THE DECLINE is a lean and mean movie, clocking in at a brief 83 minutes. The first half is compelling, while the second is increasingly violent and suspenseful.

Director Patrice Laliberte captures the sense of place with all encompassing shots of Alain’s massive compound deep in the frigid Canadian wilderness, surrounded by snowy hills and icy rivers. And during the second half of the movie, as the group splinters into two sides, the violence intensifies, and the climactic scuffle between two key characters is downright brutal.

Laliberte co-wrote the screenplay with Charles Dionne and Nicholas Krief, and it’s a smart one. The characters in this movie are not preparing for a zombie apocalypse or an otherwise cliche scenario. They are worried about the collapse of society, from either a pandemic, a worldwide economic collapse, or from global warming. Their fears, especially here in the middle of the COVID-19 pandemic, seem alarmingly real.

Their training really is about keeping it together when the proverbial sh*t hits the fan, and being prepared so they can survive afterwards, which makes what happens in this movie all the more prescient. When an accident claims the life of one of their own, they panic, and they are unable to keep it together. While Alain begs them to do just that, keep it together and rely on their training, most of the folks there refuse, as human nature takes over. Sometimes human decency trumps survivalist training.

It’s an all Canadian cast, and they acquit themselves well. Real Bosse plays survivalist master Alain with a mix of traits. On the one hand, he’s all in with the deep survivalist mantra, sounding paranoid at times, but he mixes in enough softspoken common sense and caring that he frequently sounds like a pretty normal guy. But there’s also an undercurrent of unhingedness that keeps the audience unsettled. At the end of the day, though, Alain is simply a man who believes that one must be prepared for the inevitable collapse that is coming sooner than later.

Guillaume Laurin plays Antoine, the man who also intends to bring his family to the compound when the time is right. Antoine is the character who the audience will most indentify with, the family man, who cares for his wife and daughter, which is why he’s doing all this. Laurin is very good in the role.

Probably my favorite performance in the film belongs to Marie-Evelyne Lessard, who plays Rachel, a former soldier who left the military for reasons she doesn’t like to talk about. She’s the most bad-ass character in the movie, and as the story goes along, her role grows, and she’s involved in some of the best scenes in the film. Lessard is excellent here.

I really liked THE DECLINE. Its survivalist end-of-life-as-we-know-it theme has more relevance today than ever. I also enjoyed that it did not play like a Hollywood production. The script isn’t campy, it’s not full of one-liners, and it doesn’t attempt to be anything that it’s not. It’s simply a story about a group of survivalists who believe they are training for the inevitable, and when things go awry, the reactions of everyone involved are natural and real.

The violence, while not overly gratuitous, is brutal and realistic. The final fight scene in particular is a nail-biter.

THE DECLINE is a well-made thriller that has a down-to-earth no frills script and features solid acting throughout. It’s a film that speaks to the uncertain times in which we live, and provides an answer as to how people will react to adversity and tragedy whether they’re part of society or not.

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THE HALF OF IT (2020) – Tender Teen Love Story Emphasizes Romance Over Comedy

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Leah Lewis and Daniel Diemer in THE HALF OF IT (2020).

There have been some very good coming-of-age teen comedy/dramas in recent years, and you can go ahead and add THE HALF OF IT (2020) to the list, a new film by writer/director Alice Wu.

In THE HALF OF IT, nerdy high school senior Ellie Chu (Leah Lewis) lives with her father Edwin (Collin Chou) who’s still traumatized over the death of his wife, Ellie’s mother.  He barely works and spends most of his time watching old movies on television. To help makes ends meet, Ellie runs a business writing essays for her classmates, with her motto being that if they don’t get an A, they don’t have to pay.

When she’s approached by a quiet yet sweet jock Paul Munsky (Daniel Diemer) to write a love letter to the girl he has a crush on, Aster Flores (Alexxis Lemire), Ellie at first refuses, but she changes her mind when Paul offers to pay her more money which she needs to prevent the electricity in her home from being shut off.

Ellie writes the letter, and it works, as Aster responds with a letter of her own, and suddenly Paul is asking Ellie for more help, but further complicating matters is that Ellie also has a crush— on Aster.

What’s a girl to do? In Ellie’s case it’s to keep writing the letters which are really expressions of her own feelings towards Aster, which makes the whole process more and more difficult for her, especially when Paul sees just how hard Ellie is working to help him, a realization that changes the way he feels about her.

THE HALF OF IT is a comedy/romance, but as the movie goes along, the emphasis falls more on the side of romance. The theme of the movie is that love is messy and complicated, and the relationships in this story certainly back up this notion.

Now I liked THE HALF OF IT but I didn’t find the script by Alice Wu quite as sharp as I expected it to be. The comedy aspects, while funny, become less prevalent as the story moves forward, and the film loses some of its edge as it sheds its comedic voice. Much of the comedy early on involves Ellie’s and Paul’s antics to woo Aster, including scenes where they are spying on her, and a dinner date where Paul is fumbling to speak to Aster, so Ellie who’s watching from outside attempts to bail him out by texting her, but the trouble is, Paul can’t see what she’s texting. And while these moments are good for a chuckle, the humor never goes over the top to really make you laugh out loud.

The writing is stronger when focused on romance. There are some tender moments, like when Ellie attempts to teach Paul the art of conversation over a game of ping pong. And there are lots of little moments throughout, but one thing lacking in THE HALF OF IT is a big moment, that scene where the film tugs at your heart strings. There’s a dramatic climax inside a church which comes close to doing this but ultimately falls short.

But the small moments are enjoyable, like one at the film’s conclusion involving running after a train.

The three principal actors are all very good, Leah Lewis as Ellie, Daniel Diemer as Paul, and Alexxis Lemire as Aster, but one thing that works against this movie is that strangely, none of these folks generate much chemistry together. While I appreciated the odd love triangle, I never completely bought how they felt about each other. The love triangle just never came to life.

Director Alice Wu scores highest when covering the tender moments of teens contemplating love. More than just a teen comedy or love story, it’s really about understanding what love is, why people love, and how people love. Wu also uses the art of texting to the film’s advantage. The characters text each other constantly, and we see these texts in real time, and they really add to the effectiveness of the storytelling.

But I still wish the movie had been funnier. I enjoyed BANANA SPLIT (2018) more, a film I reviewed several weeks back, as that teen romance scored much higher on the comedic meter. Likewise, I also enjoyed THE EDGE OF SEVENTEEN (2016) and LADY BIRD (2017) more as well.

The movie also doesn’t have a strong sense of place. It takes place in small town America, the typical “nothing happens here” town where the teens are just aching to leave, but the film doesn’t really capture the feel of this small town or where it is located. It’s in Washington, but it could take place just about anywhere there’s a small rural town.

I liked THE HALF OF IT but didn’t love it.

The theme of THE HALF OF IT is based on a Greek story by Aristophanes in which the gods split whole humans in half, and so humans now spend their lives looking for their other half in order to complete themselves. A sweet notion, one that the film returns to throughout its plot.

And THE HALF OF IT is composed of two halves as well, comedy and romance, and like the characters in the story, it too struggles to become something that is whole.

 

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SERGIO (2020) – Moving Bio-Pic of U.N. Diplomat Sergio de Mello Speaks to the Value of Diplomacy

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Wagner Moura and Ana de Armas in SERGIO (2020).

SERGIO (2020), a Netflix original movie, tells the story of Sergio Vieira de Mello, the Brazilian born United Nations diplomat who at the height of his career went to Iraq after the U.S. invasion in 2003 to monitor elections, an effort that unfortunately met with tragic results.

SERGIO stars Wagner Moura in the lead role as Sergio de Mello. Moura, who starred in the Netflix series NARCOS (2015-2017) as Colombian drug lord Pablo Escobar, is a charismatic actor who was outstanding as Escobar. He’s similarly effective here as Sergio de Mello. He carries this movie, and his performance is one of the main reasons to see it. He plays De Mello as a career diplomat who was very good at what he did, brokering peace deals between hostile parties, and who puts his career above all else, even at the expense of missing valuable time with his two sons.

Directed by Greg Barker, a filmmaker known for his documentaries, SERGIO doesn’t tell its story in linear fashion. It jumps back and forth through time, showing different key points of de Mello’s life and career. It’s a style that ultimately works, even as the pacing sometimes lags.

When de Mello brings his team into Iraq, he is met with resistance by the United States, especially from U.S. diplomat Paul Bremer (Bradley Whitford) who warns Sergio not to stray from U.S wishes, that he’s there to support the positions of the United States. Of course, de Mello disagrees, arguing that the United Nations is an independent organization and as such is not beholden to any one country.

When a massive bomb strikes the United Nations headquarters in Iraq, de Mello finds himself trapped underneath all the rubble, and it’s here where most of the story unfolds, as he thinks back to events which brought him to this moment in time. A big part of his story is his romance with Carolina Larriera (Ana de Armas). The film chronicles how they met and shows how they eventually end up working together for the U.N., and she is there that day at the U.N. headquarters when the bomb goes off.

Ana de Armas and Wagner Moura share a wonderful chemistry together. Even though SERGIO is intended as an historical drama, really, its love story is one of the best parts of the movie. De Armas and Moura electrify the screen when they’re together, and their love story only adds to the sadness of the tragedy in Iraq.

Ana de Armas is a really good actress who has appeared in such movies as KNIVES OUT (2019), BLADE RUNNER 2049 (2017), and HANDS OF STONE (2016). She’s also slated to star in the next James Bond movie, NO TIME TO DIE (2020). For me, up until now, de Armas’ most prominent role was as the holographic Joi in BLADE RUNNER 2049, but I think she’s even better here in SERGIO.

Brian F. O’Byrne adds fine support as Sergio’s friend and right hand man Gil Loescher, who also is trapped with Sergio under the rubble of the bombed building. And Bradley Whitford in a small role is sufficiently annoying as U.S. diplomat Paul Bremer who comes off as the bully on the block, in effect saying do what the U.S. wants or else. His most telling line is when he tells Sergio “welcome to the big leagues” implying that Sergio is out of his league in Iraq and only the U.S. knows how to handle such a difficult situation.

Craig Borten wrote the screenplay, based on the book Chasing the Flame: One Man’s Fight to Save The World by Samantha Power, and for the most part it does a really good job of fleshing out Sergio’s story.  After you have watched this movie, you will have an understanding and an appreciation of who Sergio de Mello was and what he meant to the world. The film also touches upon what the absence of de Mello has meant to the world since that time. Borten also co-wrote the screenplay to DALLAS BUYERS CLUB (2013), a script which earned him an Oscar nomination.

The major drawback of SERGIO is at times with its talky scenes it plays much more like a television show than a movie. It doesn’t really have a cinematic feel to it, and while it is a Netflix original, it was intended to play at the theaters as well, plans which were changed because of COVID-19.  Last week I reviewed the Netflix original movie EXTRACTION (2020), and that film definitely had a cinematic feel which would have been right at home on the big screen. I can’t say the same for SERGIO.

And at times the pacing slows down somewhat.  But these are minor issues. Overall, SERGIO is one of the better films I’ve seen this year.

It enjoys some really powerful emotional moments. One of the best is when Sergio talks to a woman in Timor in a private meeting. It’s such an authentic yet quiet moment. It is one of the most moving sequencs in the film. The scenes in Iraq also work, recalling that chaotic volatile time. And all the scenes between Moura and Ana de Armas are lively and romantic, and really lift the story to a type of love story that I wasn’t expecting. Their scenes together are all exceptional.

SERGIO is a moving drama that tells the important story of Sergio de Mello, a story that is even more relevant today as the world continues to shift away from the value of diplomacy. Sergio’s life and sacrifice is a testament to the power of what one can achieve through diplomacy, and sadly to what happens when those efforts are stamped out by acts of violence.

—END—

 

 

 

EXTRACTION (2020) – Netflix Original Best Action Movie In Years

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EXTRACTION (2020), a Netflix original action flick starring Thor himself, Chris Hemsworth, premiered last week on the ubiquitous streaming service with a ton of hype and promotion. In fact, the film’s ads definitely had the feel of a theatrical release.

Does this actioner by a first time director known for his stunt work on the Marvel superhero movies live up to the advertising?

The answer is a resounding yes! Not only is EXTRACTION one of the best Netflix-made action movies yet— I enjoyed it much more than last year’s TRIPLE FRONTIER (2019), for example, but it’s also one of the best action movies I’ve seen in a while. Period.

It’s the best non-superhero action movie I’ve seen in years.

EXTRACTION takes place in Dhaka, Bangladesh, where the most powerful drug lord of the land kidnaps the young son of a rival drug lord, who happens to be in prison. This rival drug lord tells his right hand man, Saju (Randeep Hooda) that if he doesn’t rescue his son, his own son will die. Saju knows he can’t do the job on his own, so hires a group of mercenaries to do the job for him, all the while knowing he can’t afford their price, and so from the  get-go he’s planning to double cross them.

The mercenaries are led on the ground by Tyler Rake (Chris Hemsworth), a fearless soldier haunted by some personal demons from his past. Nevertheless, Tyler is very good at what he does. He’d give Rambo a run for his money. And he does successfully find the boy, Ovi (Rudhraksh Jaiswal) but extracting him from Dhaka proves difficult, because the all-powerful drug lord Amir Asif (Priyanshu Painyuli) shuts down the city, and since Saju has double-crossed the team, Tyler is surrounded on all sides with little hope of getting the boy out of Dhaka.

But Tyler has no intention of letting the boy die on his watch.

The best part about EXTRACTION are its action scenes. The action sequences here are second to none. These are hard-hitting violent R-rated fight scenes, and they are shot exceedingly well, including one very long sequence done in a single take, reminiscent of a similar sequence in ATOMIC BLONDE (2017).

The fact that these sequences are so expertly handled comes as no surprise since director Sam Hargrave worked as a stunt coordinator and second unit director on many of the Marvel superhero movies. His expertise is on full display here. It’s an exceptional directorial debut. The camera gets in close to the action, and things happen with such speed you really feel like you are right there in the middle of the combat with the actors.

Hargrave worked as Chris Evans’ stunt double in the CAPTAIN AMERICA and AVENGERS movies. He was the stunt coordinator on CAPTAIN AMERICA: CIVIL WAR (2016), AVENGERS: INFINITY WAR (2018) and AVENGERS: ENDGAME (2019), as well as the aforementioned ATOMIC BLONDE. And that’s just the tip of the iceberg. He has 80 stunt credits going back to 2005. He was also the second unit director on ATOMIC BLONDE and AVENGERS: ENDGAME.

And these action sequences had better be good because the film is almost nonstop action. The first hour is an incredible fight-filled thrill ride. It’s relentless. Things slow down midway so the audience can catch its breath, before picking up again for an intense conclusion. Action fans will not be disappointed.

Nor will fans of good storytelling. The screenplay Joe Russo, based on the graphic novel “Ciudad”by Ande Parks, tells a riveting story that never lets up. Chris Hemsworth’s Tyler Rake is a likeable character, in spite of the bloody path he carves out, and his mission here, to rescue a young boy, even when his superiors tell him to cut his losses and leave the boy behind, is an admirable one. The dialogue is also first-rate.

It’s an excellent screenplay by Russo, who of course is known as a director, as he directed CAPTAIN AMERICA: CIVIL WAR, AVENGERS: INFINITY WAR, and AVENGERS: ENDGAME.

So, yes there’s a big Marvel connection here, solidified even more with the presence of Chris Hemsworth in the lead role. It’s an outstanding performance by Hemsworth. I liked him here every bit as much as I’ve enjoyed watching him play Thor in the Marvel movies.

Randeep Hooda is also excellent as Saju, an ex-special forces soldier who finds himself having to double cross a team of deadly mercenaries pitting him against Rake and rival drug lords in order to protect his own son. The fight scenes between Hooda and Hemsworth are some of the best in the movie.  Had this movie been made back in the 1980s, you could easily imagine Schwarzenegger and Stallone in these roles.

Priyanshu Painyuli makes for a surprisingly suave drug lord Amir Asif, and Golshifteh Farahani stands out as the sexy yet ice-cold coordinator of Tyler’s team, Nik Khan.

And David Harbour who plays Police Chief Jim Hopper on STRANGER THINGS (2016-present) shows up midway through as an old friend who steps up to give Tyler and the boy safe— eh hem—harbor.

I really liked EXTRACTION. It’s one of the best action movies I’ve seen in years, with some of the most exhilarating action sequences ever put on film. It’s that good.

The only drawback is I wished I had seen this one on the big screen. In IMAX. It’s worthy of that kind of viewing.

With EXTRACTION, Sam Hargrave has put himself on the map as a premier action movie director, while Chris Hemsworth has solidified his standing as a truly bona fide action star.

—END—

 

 

 

 

 

HORSE GIRL (2020) – Intriguing Drama Asks: Mental Illness or Alien Abduction?

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There’s a fine line between mental illness and alien abduction.

That’s the dance played out in HORSE GIRL (2020), an intriguing drama about a sweet yet socially awkward young woman who suffers from nightmares and blackouts which she interprets as alien abductions while those around her believe more matter-of-factly that she suffers from mental illness.

Just where the truth lies is something the movie doesn’t make crystal clear.

HORSE GIRL tells the story of Sarah (Alison Brie) a shy young woman who works in a fabric store during the day and comes home to her apartment at night where she spends her evenings alone watching reruns of her favorite science fiction TV show, while her roommate Nikki (Debby Ryan) occupies herself with her boyfriend Brian (Jake Picking). Sarah also has an affinity for a horse Willow which she visits every day at the stable, much to the annoyance of Willow’s owners. We learn later that Willow used to be Sarah’s horse but isn’t any more.

On her birthday, Sarah receives a birthday card from her co-worker Joan (Molly Shannon) who asks her if she has any special plans to celebrate, to which Sarah lies and says she’s going to go out to dinner with some friends from her dance class. Later, we witness the awkward scene where Sarah tries to make plans with these friends but fails miserably, so she returns to her apartment, content to spend her birthday alone, but her roommate Nikki feels bad for her and coaxes Brian to invite his friend Darren (John Reynolds) over who had recently broke up with his girlfriend. Surprisingly, Darren and Sarah hit it off well, and they agree to see each other again for a date.

Up until this point, HORSE GIRL has the makings of a tender romantic love story, but it’s at this time when Sarah realizes she’s been having some pretty bizarre dreams, dreams in which sleep walks and finds herself in other places, not knowing how she got there, and when she returns home, she finds that while she believes she’s been gone for hours, only minutes have passed in real-time.

She does some research on the internet and reads about alien abductions, and the descriptions of these abductions match things she has seen and felt in her dreams. It’s also at this time when she begins to think more about her grandmother and mother, both of whom dealt with mental health issues and spoke of experiences similar to hers. In her mom’s case, she recently committed suicide. But Sarah fixates on her grandmother, who in old photographs is the splitting image of Sarah, which gets Sarah thinking about clones.

Once Sarah starts speaking about this to her friends and family, it’s easy for them— and for the audience— to believe she has inherited the same mental health issues as her mother and grandmother. But Sarah is convinced otherwise, and she sets out to prove it.

HORSE GIRL is a thought-provoking movie that is well-written by director Jeff Baena and lead actress Alison Brie. And while its story is never fleshed out as well as one would hope, it still delivers in that it takes its audience for a ride that is compelling throughout, the only drawback being a conclusion that is a bit too open-ended.

I really enjoyed Alison Brie in the lead role as Sarah. She makes Sarah likeable and vulnerable. She nails the introvert persona suffering from social anxiety to a tee, and the scenes where she tries to be social are painfully realistic. And she does it without being cliché or superficial. In all other aspects of her life, in her job, for instance, she’s comfortable and quite good at it. So, Brie creates a three-dimensional character who we like even before all the weird things begin to happen to her, and once they do, we empathize with her and want her to be okay, even as it becomes increasingly apparent that she’s not okay.

Brie is a wonderful actress who I first noticed on the TV show MAD MEN (2007-2015) where she played Trudy Campbell. She also stars on the TV show GLOW (2017-2020). She’s in nearly every scene in HORSE GIRL, and she easily carries this film on her back.

And as I said, she also wrote the screenplay, along with director Jeff Baena. One of the best parts of the screenplay is how well-written the supporting characters are. They come off as real people, which in this story, is important, because Sarah increasingly becomes unstable, and if she were surrounded by a bunch of cardboard clichés, it would certainly make her story less believable. But that’s not the case here as these supporting characters have real reactions and really care for her.

In one of the film’s best sequences, when Sarah is on her date with Darren, it’s all going so well, and when Sarah opens up to him and starts talking about what she suspects is happening to her, at first since he’s happy and genuinely likes Sarah, he’s supportive and all ears. But as Sarah grows more intense and unpredictable and unrealistic, she becomes scary, and Darren’s reaction changes.  Had he been a cliché, the boyfriend only out for sex, for example, this scene would not have worked as well. Instead, it works wonderfully, because Darren tries so hard to  understand Sarah and to accept what she’s saying, but as she reacts more violently, he, like the audience, becomes unnerved and he has no choice but to react to that. It’s one of the more honest— and frightening— sequences in the film.

As I said, the one weakness in the movie is the ending. Based on the final sequence, you get a pretty good idea on which side the moviemakers favor here, mental illness or alien abduction, but still there’s something missing, and that something is an independent view on the matter. The film is told through Sarah’s eyes, and so even that final scene is from Sarah’s perspective, and hence you really don’t know its true meaning, which often is not a bad thing in a movie, and it’s not a terribly bad thing in this movie, as I still liked it a lot in spite of the ending, but a more emphatic ending would have helped, as it would have given this curious tale an exclamation point on which to end, rather than the way it ends now, with an ellipse.

HORSE GIRL also has an admirable supporting cast. Debby Ryan does a fine job as Sarah’s roommate Nikki, who although she gets frustrated with her does care about her. Likewise, Jake Picking is solid as Nikki’s boyfriend Brian, who’s much less supportive of Sarah and thinks she’s flat-out weird. Molly Shannon also does a nice job as Sarah’s co-worker Joan who also seems to care about her.

I really enjoyed John Reynolds as Darren, the guy who sincerely wants to start a relationship with Sarah, but he unfortunately picked the wrong week to ask her out. Reynolds does an awesome job making this guy a three-dimensional character, and he does it in very little screen time. Reynolds plays quirky Officer Callahan on TV’s STRANGER THINGS (2016-2020). He makes much more of an impact here in HORSE GIRL.

HORSE GIRL also benefits from a couple of screen veterans in the cast. Paul Reiser shows up in one sequence as Sarah’s step-father. It’s just one sequence, but it’s a good one. And John Ortiz plays a man Sarah sees in her recurring dreams, and then later she sees him in real life.

I liked the way director Jeff Baena handled this one. Sure, it’s a bit of a slow burn, as the pace is measured, and the first third is a straight drama. In fact, when Sarah experiences her first weird nightmare, it comes out of nowhere and is quite jarring. If HORSE GIRL were a horror movie, it would fall into the category of quiet horror. So, call this one a quiet mystery/thriller.

But it works.

HORSE GIRL is a captivating drama with sprinkles of mystery and science fiction thrown in that takes its time telling its weirdly provocative story, and while its ending isn’t completely satisfying, it remains a movie that creates a sympathetic main character who’s searching for answers about her past and her future. You’ll want her to find them.

It’s now available on Netflix.

—END—

 

 

 

 

 

 

Netflix’ DRACULA (2020) – New Mini-Series’ Take On Stoker’s Novel Difficult to Digest

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DRACULA (2020), a three-part miniseries available now on Netflix, is brought to us by the same folks who brought us SHERLOCK (2010-2017), which starred Benedict Cumberbatch.

Their take on Bram Stokers’ iconic novel, one of the most revered horror novels in the English language, and one of my personal favorites, is one that pushes the envelope at every turn, so much so that for Dracula purists like myself, the end result is not easy to digest.

That’s not to say that I didn’t like DRACULA. I did. Or, at least parts of it.

But there were more parts that I didn’t like, aspects that made it clear that the series’ makers were sacrificing story and truth for ingenuity and chaos. In short, the goal here seems to have been to make as many dramatic and in-your-face changes as possible to make this a fresh and original take on the tale. The trouble is, at the end of the day, there’s not a whole heck of a lot left that resembles Stoker’s original novel.

This in itself I don’t have a problem with. I’m open to re-imaginings. The problem with this reboot is the bold changes get in the way of the story, and that’s never a good thing. It’s like being aware that an actor is acting. Here, it clearly seemed that changes were being made just for the sake of being different. In short, I think the filmmakers were simply trying too hard.

DRACULA opens with a very ill Jonathan Harker (John Heffernan) at a convent being interviewed by Sister Agatha (Dolly Wells), who wants to know as much as possible about his experience at Castle Dracula. Now, in Stoker’s novel, Harker does convalesce in a convent after he escapes from his horrifying ordeal at Castle Dracula, so I thought this was a neat way to open the mini-series.

The events at Castle Dracula then unfold as Harker recounts his story, and it’s in this telling that we first meet Count Dracula (Claes Bang). This is all well and good until it’s revealed that Sister Agatha’s last name is Van Helsing, meaning that in this interpretation, Van Helsing is a nun.

Okay. Stop right here.

Van Helsing is a nun.

Let that sink in for a moment.

My first thought was, okay, a bit dramatic, but I can live with this. I’m on board. I’m ready for this interpretation. But it doesn’t stop there. Van Helsing in this DRACULA is hardly the Van Helsing we’ve seen before. Sure, she’s Dracula’s adversary, but barely, and like other aspects of this version, as the interpretation goes along, it becomes unrelatable, and that simply gets in the way of good storytelling.

So, Part I is mostly the tale of Jonathan Harker’s ordeal at Castle Dracula. Part 2 covers Dracula’s voyage on the ship the Demeter on his way to London, and then Part 3 gets wild and crazy. Without giving too much away, if you’re familiar with Hammer’s DRACULA A.D. 1972 (1972) you know which direction the third episode takes.

There’s no doubt that Claes Bang’s interpretation of Dracula was meant to be fresh and original, and it is definitely unlike previous takes on the character. Bang’s Dracula has a wise-cracking quip about everything, and he seems to have walked off the set of a Marvel superhero movie. He’d be right at home exchanging barbs with Iron Man and Doctor Strange as he battled them for supremacy of the world. In short, I didn’t like this interpretation. For me, Dracula works best when he is flat-out evil, which is why I’ve always enjoyed every Christopher Lee performance. His Dracula is always evil.

That’s not to say that Bang plays Dracula as a nice guy. His Dracula is definitely a villain, but he’s just a little too colorful for my tastes. That being said, Bang does deliver a powerful performance which grew on me with each episode. So, for me, it’s a case where I thought the actor did a tremendous job but the writing tweaked the character too much for my liking.

Likewise, Dolly Wells does a nice job as Sister Agatha Van Helsing, but again, the writing took this character and did things with her that diminished her impact. For starters, Van Helsing simply isn’t as powerful a presence here as Dracula. That in itself is problematic.

I can’t say then that I was a fan of the teleplay by Mark Gatis and Steven Moffat, where changes seem to have been made solely for the purpose of being different without taking into consideration how it would affect the story. Still, it’s an incredibly ambitious screenplay. There is just so much thrown into this mini-series. That in itself is impressive. But sadly most of it didn’t work for me.

The rest of the cast is okay. The only other cast member who stood out for me was Lydia West as Lucy, who shows up in Part 3. When Dracula finally meets Lucy in Part 3, it makes for some of the most compelling moments in the entire miniseries. I loved this part, mostly because of West’s performance here, as she and Bang share some sensual chemistry, but sadly, this sequence doesn’t last all that long, so as good as it is, it’s far too brief.

Then there’s Mina, here played by Morfydd Clark. Mina is a central character in the novel, and she’s always been one of my favorite characters in the novel. Few movie versions have ever done her justice. In the novel, she’s probably the strongest character, but in the movies, she’s generally reduced to being a victim who needs to be saved by Van Helsing. In this version, she’s barely a blip on the proceedings, which is too bad.

I did like the way this one looked. A lot. Especially the look of Castle Dracula in Part 1. Evidently it’s the same castle exterior that was used in the original NOSFERATU (1922). How cool is that?

I also enjoyed the homages to other classic Draculas, especially to the Hammer Draculas. Early on in Part 1, Dracula is depicted as an old man, as he is in the novel, and the look here resembles Gary Oldman in BRAM STOKER’S DRACULA (1992). Later Dracula’s guise resembles Christopher Lee, and then in Part 2, while he’s on the Demeter, his costume mirrors that of Bela Lugosi. I appreciated these touches.

And for Hammer Film fans, there’s an Easter Egg for DRACULA A.D. 1972, and for HORROR OF DRACULA (1958), specifically that film’s classic finale. So I give credit to directors Johnny Campbell, Paul McGuigan, and Damon Thomas for these moments.

But overall, DRACULA struggled to hold my attention. I found its dramatic revisions distracting and far less captivating than the story told in Stoker’s novel.

And while I can comfortably say it was not the version for me, I have a feeling that somewhere down the line I’ll watch it again.

Some day.

 

When I’m ready to once more entertain the notion that Van Helsing is a nun and Dracula a comic book villain.

—END—

 

EL CAMINO: A BREAKING BAD MOVIE (2019) – Follow-up to “Breaking Bad” TV Series Doesn’t Stand on its Own

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Aaron Paul returns as Jesse Pinkman in EL CAMINO: A BREAKING BAD MOVIE (2019)

Like nearly everyone else on the planet, I loved the TV show BREAKING BAD (2008-2013). It’s one of my favorite TV series of all time.

But unlike most everyone else, I was not a fan of the show’s final season. I know. For most fans, the final season was the best season. For me, it just got too dark, and when Walter White went full-blown Dr. Evil bonkers, I lost interest. Another reason I wasn’t nuts about the final season was the fate of Jesse Pinkman (Aaron Paul). Pinkman goes through hell during the final few episodes, and while he lives to tell about it, what he ultimately goes through was so painful and so horrific, it left a bad taste in my mouth.

So, I was delighted when I heard there was going to be a BREAKING BAD movie which would focus on Jesse’s fate after the events of the show.

And that movie is EL CAMINO: A BREAKING BAD MOVIE (2019), produced by Netflix, and enjoying a joint release, both on the big screen at the cinema, and also at home on Netflix. Since I’m not made of money, I chose the Netflix option.

Now, EL CAMINO: A BREAKING BAD MOVIE is getting high-octane reviews. The critics love it! So, why was I— disappointed?

Well, since you asked:

First of all, I’m just not a big fan of prequels or stories that spend as much time looking back as looking forward, and that’s what this new BREAKING BAD movie does. Sure, it’s a sequel to the show, but it’s also a prequel, of sorts.

At the end of BREAKING BAD, we see Jesse escape the fiery and bloody events of the show’s finale, and he’s one of the few characters who does survive. He and Walter White (Bryan Cranston) went from small time meth cookers to major drug dealers, and as I said, White eventually goes batsh*t crazy trying to become the Godfather of the meth business.

When EL CAMINO: A BREAKING BAD MOVIE opens, we find a dazed and scarred Jesse hiding from police who view him as a “person of interest” in the bloodbath which ended the series. He makes his way to his old friends Badger (Matt Jones) and Skinny Pete (Charles Baker), and they help Jesse with his initial escape from the authorities.

But after that, where does Jesse go? What are his options? To figure this out, he spends a lot of time thinking of past events which help shape where he will take his future, and hence the bulk of this film is “flashbacks” to prior events in Jesse’s life which give him insight into his future. Now, these aren’t flashbacks to scenes from the show, but rather, scenes which took place in the past which audiences haven’t seen yet.

As such, lots of characters from the show return here, and for many, that’s one of the best things about this movie, seeing a “who’s who” list of BREAKING BAD characters back in action. But for me, this only goes so far. While I enjoyed seeing these folks again, and I’ll remain mum about who shows up so as to avoid spoilers, it didn’t really make for captivating viewing.

Jesse digests this information and then uses it to formulate his plan for moving forward in the future. That pretty much is the story told in EL CAMINO: A BREAKING BAD MOVIE.

I was unimpressed. I would have much preferred a story about Jesse several years after the events from the final season. I get the point of this movie, however. It’s to show how Jesse survives and deals with the horrors of what he went through during the show’s final season. It just didn’t work all that well for me.

It plays out like an extended episode of the series rather than a feature-length movie, and like most extended episodes of a TV series, it feels longer than it should be.

As I said, I’m not a fan of stories that have to look back to go forward.  The bulk of the action in EL CAMINO: A BREAKING BAD MOVIE features plot points I already knew the answers to.

That being said, writer/director Vince Gilligan’s other prequel to BREAKING BAD, the TV series BETTER CALL SAUL (2015-present) does work, and that’s because SAUL is a TV series that has the benefit of more time. BETTER CALL SAUL does such a thorough job with Jimmy McGill’s (Bob Odenkirk) back story that even though it is tied into events which will later happen on BREAKING BAD, the show stands on its own. It’s best moments don’t even have me thinking of BREAKING BAD.

Of course, it also helps that BETTER CALL SAUL, like BREAKING BAD before it, has superior writing. These series’ scripts are some of the best in the business.

I didn’t find Vince Gilligan’s script here for EL CAMINO on par with his work on BREAKING BAD or SAUL. It had its moments, but none of them stood out for me like some of the classic ones from the series.

Likewise, while it was good to see Aaron Paul play Jesse Pinkman again, nothing he does here in this movie is as good as what we saw him do on the series.

If you’re a fan of BREAKING BAD you’ll definitely want to check this movie out to learn what happens next to Jesse Pinkman. But don’t expect to be blown away by new revelations or situations. Nothing that happens in this film is as good as what happened in the series.

And if you haven’t seen the show, I don’t think you’d enjoy this one at all. It really doesn’t stand on its own, which is another notch against it.

I was ultimately disappointed with EL CAMINO: A BREAKING BAD MOVIE. While I was certainly happy to follow Jesse on his escape following the harrowing events of the series’ finale, where that escape takes him isn’t all that exciting.

If you’re content with watching what amounts to be an extended follow-up episode to the BREAKING BAD series, you might like EL CAMINO, but if you’re expecting something more, something extra special, you’ll be in for a disappointment.

For me, it wasn’t so much  BREAKING BAD as it was BREAKING BORED.

—END—

Books by Michael Arruda:

New in 2019! DARK CORNERS, Michael Arruda’s second short story collection, contains ten tales of horror, six reprints and four stories original to this collection.

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Waiting for you in Dark Corners are tales of vampires, monsters, werewolves, demonic circus animals, and eternal darkness. Be prepared to be both frightened and entertained. You never know what you will find lurking in dark corners.

Ebook: $3.99. Available at http://www.crossroadspress.com and at Amazon.com.  Print on demand version available at https://www.amazon.com/dp/1949914437.

TIME FRAME,  science fiction novel by Michael Arruda.  

How far would you go to save your family? Would you change the course of time? That’s the decision facing Adam Cabral in this mind-bending science fiction adventure by Michael Arruda.

Ebook version:  $2.99. Available at http://www.crossroadpress.com. Print version:  $18.00. Includes postage! Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

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Michael Arruda reviews horror movies throughout history, from the silent classics of the 1920s, Universal horror from the 1930s-40s, Hammer Films of the 1950s-70s, all the way through the instant classics of today. If you like to read about horror movies, this is the book for you!

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com.  Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, first short story collection by Michael Arruda.  

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Print cover

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Ebook cover

 

Michael Arruda’s first short story collection, featuring a wraparound story which links all the tales together, asks the question: can you have a relationship when your partner is surrounded by the supernatural? If you thought normal relationships were difficult, wait to you read about what the folks in these stories have to deal with. For the love of horror!

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com. Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.