Bad Boys for Life
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When the first footage of a live-action Sonic was unleashed, it became the Internet's new nightmare, until the Cats trailer was released. The strange, unsettling design made the classic Sega speedster just creepy to behold, and you could count his baby teeth in his human mouth. The producers did something unheard of in response to the onslaught of negative criticism — they listened. They redesigned the character to be more akin to a familiar 3D model from the games and delayed the movie several months in order to accommodate the special effects time crunch. The new and improved Sonic the Hedgehog movie benefits immensely from this redesign, though I routinely kept imagining what the original nightmare-inducing design would look like at different points in the film (a side-by-side DVD special feature, eh?). This is a kids movie very much geared toward that audience but I was mostly charmed by the inclusion of Sonic (voiced by Ben Schwartz) into our world. He's paired with a straight-laced small-town cop (James Marsden) and given a road trip to retrieve his portal-creating magic rings. Jim Carrey plays Dr. Robotnik, a mad scientist hired by the U.S. military to find and capture the alien responsible for the mysterious power surges. Carrey's unrestrained, intense physical performance is a nostalgic delight for 90s kids who grew up on his rubber-faced silliness, and he often made me laugh through sheer force of personality alone. However, I appreciated that the screenplay actually shows effort. There are sly, unexpected jokes that didn't have to be there and yet the filmmakers didn't rest on their laurels. I enjoyed the buddy dynamic between Sonic and Marsden and the more mawkish moments didn't make me gag. It's not anything groundbreaking or operating on higher levels of sophistication like Pixar, but it's a generally enjoyable and brisk experience that's colorful, fun, and accessible to Sonic fans and non-fans alike. Perhaps this will signal a new age where studios are more beholden to the demands of a noisy fanbase, and perhaps that's not exactly the best thing moving forward for art. But it worked in this instance. The fans won.
Nate's Grade: B-
I've been meaning to watch 2014's Force Majeure for some time but it was one of those movies that just fell behind and got trapped by the ever-increasing backlog of "to see" films. Then I discovered that there was to be an American remake by the Oscar-winning writing team behind The Descendants and I decided now would be a good time to go back to Force Majeure. But I purposely chose not to watch the Swedish original until after having watched the American remake, Downhill, to not prejudice myself. Both movies have value as cringe comedies prodding fragile masculinity, though the Swedish import runs more with the cascading consequences and the English remake plays more broadly with its big stars.
Both movies follow families on skiing vacations where the father (Johannes Kuhnke as Tomas, Will Ferrell as Pete) abandon their wives (Lisa Loven Kongdli as Ebba, Julia Louis-Dreyfus as Billie) and children when an approaching avalanche looks to be imminently deadly. It proves to be harmless but the scare it created was very real, and the damage to this family is also very real. In their dire moment of need, as death looked increasingly possible, this family watched its patriarch run away to save himself (and not before grabbing his phone). The father denies running away, finding his own slippery slope of excuses to pretend and convince his family that everything is still the same.
Downhill takes the very specific tone of Swedish original by writer/director Ruben Ostlund (The Square) and plays it safer and more broadly. There's an added context of the ski lodge being a couple's resort with the idea of horny and available alternatives just a slope away for fun. The movie is practically throwing a more traditionally "manly" and virile romantic candidate at Billie and it's so obvious and immediate that it reminded me of the sexy yoga instructor from 2009's Couples Retreat, another movie that involved a holiday retreat with two camps, one more family-friendly and another more hedonistic. It feels too convenient and crass to immediately present our heroine with prime cheating options and have her question her own fidelity. In Force Majeure, one of the best and most awkward moments occurs when Tomas tries to portray himself as an equal victim to his own shortcomings as a man. He lists several faults, including infidelity, that don't phase his wife, which implies she is well aware of this man's flaws. It's such a pathetic moment of emotional manipulation that incredulous laughter is the only natural response, and the movie makes the viewer stay in that uncomfortable squirm. Tomas lays on the floor wailing like a child, which then triggers his children to come out and lay upon their weeping father and then admonish their mother to follow their supportive lead. It's a hilarious moment and borne from the organic developments tied to character relationships. In Downhill, by contrast, we get stuff like the sexy ski instructor and a really horny, handsy lodge lady (Miranda Otto, in thick accent).
That's not to say the remake doesn't find effective ways to make the most of its American infusion. There's a scene where Pete and Billie are complaining to the ski lodge staff because someone must account for their perceived injury. The moment doesn't go as they hoped and the security head (Game of Thrones' Kristofer Hivju) refuses to apologize or admit any wrong. He points out all the warnings that the American couple somehow missed, and this only causes Billie to grow in her important agitation. It's a moment that plays to the ugly American stereotype of self-absorption and the insistence to be heard. This scene would not have worked with the Force Majeure characters at all. Billie is a more interesting character and given more ambiguity and flaws than Ebba, who is often the perplexed voice of the audience. There are adaptation changes and new jokes that work for Downhill, but more often it doesn't explore the comic avenues open to it (hashtag jokes… really?). The best jokes are frequently holdovers.
Something I enjoyed exclusively about Force Majeure was how it widened its scope to include the contagious nature of questioning masculine assumptions. The supporting characters have more significance tan in Downhill. Tomas' friend, Mats (Game of Thrones' Kristofer Hivju), begins as an awkward lifeline trying to offer meager supportive explanations to his beleaguered friend's cowardice ("You ran away so that you could come back and dig everyone out, right?") and then he too is negatively affected. His much younger girlfriend begins to look at him differently and with suspicion, wondering if he too would disappoint when under a similar life-threatening scenario. She questions whether it's simply a generational divide and an older generation (him) just doesn't feel as brave and selfless. This eats away at Mats and wreaks havoc with his relationship. You too might consider how well you really know your loved ones and how you might respond as well. It's such a wonderful what-if scenario to apply to one's self. This contagious nature of doubt makes the story feel that much more interesting when one man's failings can spiral outward and ensnare others. This deepened the dark comedy and provided interesting and complimentary side characters. With Downhill, we don't really get any other characters on the same level of thought as our main couple, Pete and Billie.
The children actually play a bigger role in Downhill as the relationship between the sons and their father is on the brink. They see him decidedly different and Pete spends time trying to regain their favor and trust and, naturally, failing. With Force Majeure, the children are kept on the sidelines and they're more worried that mom and dad may be doomed to a divorce rather than being upset or disappointed with their father. Downhill clearly aligns the sons with their mother and has Billie call upon them to provide corroborating testimony to her account, in one deliciously awkward extended moment. It's one area where Downhill bests its source material but again that's because it also dramatically scales down the importance of supporting adults.
Ferrell (Holmes & Watson) and Louis-Dreyfus (Veep) are such an enjoyable comedy pairing and work together for Downhill's broader aims. The Swedish actors are far more subdued, understated, and dry, dissolving into playing mundane, regular folk. You're not going to get that with Ferrell especially. His big screen buffoon tendencies play well for Pete's blustery self-deluded narcissist, but he lacks the bite for the destructive self-pity that emboldened Kuhnke. Ferrell's performance is more restrained than you might assume but he still doesn't feel like the right fit for the character and where he needs to go. He never stops being Ferrell. Louis-Dreyfus is such a pro and is able to navigate the bleaker comedy with great precision. Her shaken monologue retelling the avalanche incident and pausing on "… to die, I guess" had me rolling.
Downhill is over 30 minutes shorter and yet it feels stretched thing, circling the same comic points, which can make the film feel frustratingly smaller in scope and ambition. The endings are different and come across a similar questioning message over never knowing how a person may respond in the middle of danger. Force Majeure concludes with a scenario that allows its wounded males to save some honor and the women to question their own responses, a paradigm shift of expectations. The triumphant recapturing of masculinity builds to its own satirical breaking point, ready to laugh at Tomas feeling like a ridiculous John Wane-style cowboy. In contrast, the American ending doesn't feel as rich or as earned as its predecessor.
Downhill is an accessible and funny remake that has some smart deviations from its source material to deliver its own version, and sometimes it feels like the filmmakers want to make a much more mainstream comedy. The tonal identity issues sap the comedy and dramatic momentum of the story, which can make the overall film frustrating and unsatisfying at times while you wait for it to settle. Then its 85 minutes are over and it's done. Force Majeure, on the other hand, is the most confident, strident, and awkward viewing, not to mention longer at two hours in length. It's actually too long and with a few segments that could be trimmed or removed entirely (drone flying, the first set of friends, getting lost in a snowy fog). There's even a running joke where the gag is simply that the ski lifts and moving sidewalks are just super slow. The movie takes its understated, dry comic sensibility even to its relaxed sense of pacing. Both movies are funny and emphasize different aspects of the premise of the consequences of cowardice. I likely would have enjoyed Downhill less had I seen Force Majeure first but it's still a decent American remake for something that was so calculating and exact in tone, a laugh-out-loud comedy that doesn't play like a comedy. Still, co-writers/director Jim Rash and Nat Faxon (The Way Way Back) have enough skill and polished instinct that even a less sophisticated, more obvious version of Force Majeure is still entertaining enough. It might lack some of the edge of the original but Downhill is an agreeable comedy of disagreeable decisions.
Force Majeure: B+
The Photograph is a romantic drama that is unfortunately tethered to three very uninteresting lead characters. They all have potential; a journalist (Lakeith Stanfield) getting closer to a story than he anticipated, a woman (Issa Rae) learning more about her artistic, ambitious, and self-involved mother (Chante Adams) after her death. The problem is that these characters all feel trapped in boxes, confined, and the personal growth onscreen is minimal. Sure, we still get the boy-meets-girl and boy-loses-girl paces expected but there's precious little depth given to these people. It feels like writer/director Stella Meghie (Everything Everything) should be mining more insights and revelations from this mother/daughter re-examination, but by the end we haven't learned anything we didn't already know in the first thirty minutes. It's a strange experience because even as things are, on paper, moving forward, the movie feels stagnant. This is also a byproduct of the nascent chemistry between Stanfield and Rae, two genial, good-looking people that just don't have that spark or urgency when they're comfortably close. It's a movie that seems to stay in the same languid gear throughout the movie, even as the couple is progressively getting closer. It's a competently made movie with good actors but my mind kept wandering and wondering what a full movie following the mother chasing her dreams might resemble, or a full movie following Lil Rel Howery (Get Out) and his adorable family, the character who entertained me the most. The story elements are here for an engaging and potent romantic drama but the mix feels undercooked and stale.
Nate's Grade: C+
Not really a Birds of Prey movie, not really a Suicide Squad sequel (see you in 2021), this is really more of a Harley Quinn solo spinoff that's fun, colorful, bonkers, edgy, and a smile-inducing delight... when Margot Robbie is onscreen as Harley. Robbie is a charming, hyperactive live wire that commands your attention, and giving her the reigns of the storytelling, quite literally in some Deadpool-esque meta storytelling tweaks, is the best decision the filmmakers make. I enjoyed the frivolity, visuals, and narrative trickery, but I noticed something whenever Harley took a powder off screen. None of the other supporting characters are that interesting. I don't know anything about Cassandra Cain (Ella Jay Bosco), the plot device that everyone is after because of the prized diamond she swallowed. She's more attitude than person. There's also Black Canary (Jurnee Smollett-Bell) who doesn't do much and has a super power she doesn't use until the end. Renee Montoya (Rosie Perez) provides the police angle and references to cop movie cliches (a hat on a hat). Huntress (Mary Elizabeth-Winstead) is almost a self-parody as the young girl growing up to be an elite assassin to avenger her murdered family and the movie treats her like an also-ran. The only other person of interest is the villain, Roman Sionis a.k.a. Black Mask (Ewan McGregor), because the performance is campy while also being menacing. Birds of Prey suffers absent Robbie because its additional pieces cannot carry the movie on their own. The vacuum of charisma is too noticeable. The fight choreography is impressive and with plenty of longer takes to fully appreciate the cool moves. I enjoyed how every action sequence was different from the last and director Cathy Yan makes excellent use of her environments; a police lock-up is a fantastic place for an action scene with all the evidence/props to utilize. A romp inside a fun house also keeps things fresh even though the goons never bring guns to their big fight. Birds of Prey works very hard with quirk and narrative shuffling, and it feels like a decided attempt to dazzle as well as distract, because there's not much to this movie. It's style and personality over substance, and that's fine, but it does make the second half feel a bit like coming down from a sugar rush. I know there will be plenty that celebrate a group of strong women taking ownership of their own stories and fighting together against toxic men. I know there will be plenty of my friends that love this movie. For me, it was an enjoyable experience that made me realize just how much I enjoy Robbie as an actress, as this character, and when given extra room to roam with an R-rating. Birds of Prey is the kind of tasty junk food you just crave from the cinema every now and then, but without Robbie it's decidedly less flavorful.
Nate's Grade: B