‘Doctor Sleep,’ Sequel to ‘The Shining,’ Gets Its First Trailer

Upon hearing that Stephen King’s 2013 novel “Doctor Sleep,” the sequel to “The Shining,” was going to be turned into a movie, many things ran through my head. Could a cinematic sequel be created out of this novel? If so, should it have the same visual style Stanley Kubrick gave to his film adaptation of it in 1980? Wouldn’t it be better to make a movie which stands on its own from its predecessor in the way “Hannibal” stood apart from “The Silence of the Lambs?” Will it be closer to King’s novel or Kubrick’s film? Would it acknowledge the 1997 miniseries which King very much preferred to Kubrick’s film to an infinite degree? Heck, would it even acknowledge the documentary “Room 237” which dealt with the many interpretations and perceived meanings people had of Kubrick’s classic horror film?

Well, several of these questions were answered when Warner Brothers released the first trailer for the cinematic adaptation of “Doctor Sleep” which stars Ewan McGregor as Dan Torrance who is now grown up and still suffering from the trauma he endured from the events at the Overlook Hotel. At first, it looks like any other movie as McGregor keeps writing a word or two in chalk on the wall in his bedroom. But then one day this same wall erupts in a way which wakes him up quite violently, and he sees that it says “REDRUM.” From there, you know you are back in Stephen King territory, let alone the universe he created in “The Shining.”

At first, “Doctor Sleep” looks to have a different visual look from “The Shining” as Danny Torrance is now in a different place which is far removed from the Overlook Hotel. But then he meets a young girl named Abra Stone (Kyliegh Curran) who has the same gift he has, and he becomes determined to save her from Rose the Hat (Rebecca Ferguson), head of the True Knot cult which feeds on the psychic powers of children.

But as things go on, we see images which appear to be strikingly accurate recreations of Kubrick’s film all the way to the carpet on the hotel floor. There’s even a moment where we see the blood rushing like a river out of those elevators, and another where the occupant of room 237 pushes away the shower curtain to see who is invading her private space. The trailer ends on McGregor looking through the same door Jack Nicholson once broke through with an axe and yelled at Shelley Duvall, “HERE’S JOHNNY!!!”

My thoughts on this “Doctor Sleep” trailer are a bit mixed as I feel it could have had more energy as it seems a little too quiet or subdued. At the same time, it shows the movie has a lot of promise as it dares to match the visual style Kubrick gave us years beforehand to where it invites us to compare it to his 1980 horror classic. It is also written and directed by Mike Flanagan who has already given us an excellent Stephen King adaptation with “Gerald’s Game,” and those who read that particular King novel were convinced it was unfilmable until he proved otherwise. Suffice to say, it feels like this movie is in very good hands.

Well, the ultimate comparisons between “Doctor Sleep” and “The Shining” will be made when “Doctor Sleep” arrives in theaters on November 8, 2019. Please check out the trailer above.

Doctor Sleep teaser poster

 

 

Advertisements

‘Dark Phoenix’ is the Worst ‘X-Men’ Movie Yet

Dark Phoenix movie poster

“X-Men: The Last Stand” has long been treated as the bastard stepchild of the “X-Men” franchise. The Brett Ratner-directed take on “The Dark Phoenix Saga” was sharply criticized by both fans and critics, and it took quite the beating from everyone it seemed including Bryan Singer who left the “X-Men” franchise to direct “Superman Returns,” and Matthew Vaughn who was set to direct this one before dropping out. “X-Men: Days of Future Past” helped wipe the slate clean by altering the timeline to where the events of “The Last Stand” no longer existed. And let’s not forget the scene from “X-Men: Apocalypse” where characters were walking out of “Return of the Jedi” which they felt paled in comparison to “The Empire Strikes Back,” and Jean Grey ends up saying, “Well, at least we can all agree the third one’s always the worst.” Please do not try to convince me this was not a jab at “The Last Stand.”

Now we have “Dark Phoenix,” the twelfth installment of the “X-Men” franchise, and it aims to give audiences a more faithful adaptation of “The Dark Phoenix Saga.” It also marks the directorial debut of Simon Kinberg, a long-time screenwriter in this franchise and someone eager to make up for the mistakes made in “The Last Stand.” With this being the last installment of the 20th Century Fox-produced “X-Men” franchise now that Disney owns Fox and plans to incorporate these characters into the Marvel Cinematic Universe, this one has to be the penultimate sequel of the bunch, right?

Nope, not a chance. With “Dark Phoenix,” Kinberg has given us the worst “X-Men” movie yet. While has a strong cast and excellent special effects to work with, the narrative is badly conceived, the screenplay is muddled, characters actions are ill-defined, and it features the blandest set of villains this franchise has ever had. While these movies have in general proven to be tremendously entertaining, I walked out of this one feeling very indifferent to it as the whole project feels inescapably dull and anti-climatic.

It’s a real shame because “Dark Phoenix” gets things off to a good start as we learn how Jean Grey came to be more or less adopted by Charles Xavier (James McAvoy) after her mutant powers inadvertently get her parents killed in a nasty car accident. From there, the story moves to 1992 when the X-Men fly into outer space to rescue astronauts after their space shuttle is damaged by a solar flare. But in the process, Jean Grey (played by Sophie Turner) absorbs the solar flare in her body and looks to have been killed. But after being rescued, she appears to be just fine, and soon she realizes her psychic powers have been amplified to an infinite degree. It’s like the scene in “Wolf” where Kate Nelligan wakes up Jack Nicholson after he’s been asleep for 24 hours. She asks how he is feeling and Nicholson, with a Cheshire cat grin, replies, “I feel ah… Good!” Yes, and so does Jean until the two separate personalities within her begin to fight with one another and leave a lot of damage which will have insurance agents scratching their heads in disbelief.

From there, everything in “Dark Phoenix” feels routine to the point where I got increasingly weary while watching it. We have been done this road before in the “X-Men” franchise before, and Kinberg fails to bring anything new or fresh to this material. This installment also lacks the powerful emotion which made the best “X-Men” even more enthralling than they already were. A major mutant character is killed off in this one, but this death was already spoiled in the trailers to where the loss feels hollow.

Jennifer Lawrence, who returns as Mystique, does have one good scene in which she chews out Professor Charles Xavier for getting caught up in all the celebrity hoopla foisted upon the X-Men for their heroic efforts they have done. She is quick to remind Charles how the women have at times been the most heroic of the bunch to where she wonders if X-Men should instead be called X-Women. Yes, score one for the Me Too and Time’s Up movements!

Other than that, Lawrence and other actors like Nicholas Hoult and Alexandra Shipp, both of whom return as Beast and Storm, don’t look terribly interested in reprising their roles. Things get even worse as alliances keep shifting back and forth and in ways which seem completely contrived. There was also plenty of laughter throughout the press screening I attended, and I have no doubt most of it was unintentional.

Then there are the villains of this piece, the D’Bari who are a shape-shifting alien race intent on obtaining the power Jean Grey now has. They are led by Vuk (Jessica Chastain, completely wasted here), and they are some of the most banal antagonists in recent cinema history. All of them look as though the life has been completely sucked out of their bodies to where I can’t help but say they each had too many Botox treatments. This alien race leaves very little to the imagination, and they are far from memorable.

Coming out of “Dark Phoenix,” I spent a lot of time wondering how something which came with a lot of promise could have gone so terribly wrong. It also makes me feel sorry for Kinberg as I have no doubt he came into this project with the best of intentions, but the road to hell is always paved with them. Everything here feels very tired and ill-thought, and having Magneto (Michael Fassbender) come back into the action after someone close to him has been killed made my eyes roll as this has always been the case with this character. Didn’t Magneto learn anything from the previous two installments?

What also infuriated me is that “Dark Phoenix” does not provide Quicksilver (Evan Peters) with a rescue scene set to a classic 1990’s song. “Days of Future Past” had this supersonic character saving his fellow mutants to the 1970’s song “Time in a Bottle” by Jim Croce, and “Apocalypse” had him doing the same thing to the tune of the Eurythmics’ 1980’s classic “Sweet Dreams (Are Made of This).” I came into “Dark Phoenix” expecting Quicksilver to do his hypersonic rescue thing to a 1990’s classic song, but no such luck. It could have been something by Nirvana, Pearl Jam, Soundgarden or perhaps Nine Inch Nails (“Head Like a Hole” would have been a great choice). Heck, they could have even used “Dyslexic Heart” by Paul Westerberg.

It’s no secret of how troubled the production of “Dark Phoenix” was. Thanks to poor test screenings, the entire third act had to be reshot. Its release was delayed a number of times as a result, and even though Kinberg describe the reshoots as being a “normal” process for any movie, none of them helped to salvage the cinematic mess we have here.

This is also the first “X-Men” movie not to feature Hugh Jackman as Wolverine as he had played the character for the last time in “Logan.” Indeed, Wolverine is the missing link here as his romance with Jean Grey gave the story much of its emotional power. This same level emotion is seriously missing here as we reach a conclusion which is never really in doubt. Then again, having Jackman romancing Sophie Turner would have seemed a bit strange.

For the record, I liked “The Last Stand,” but I have also never read the Marvel comic books it was based on. Had I done so, perhaps my feelings on Ratner’s film would have been different, but I still found it to be an entertaining ride from start to finish and with emotion to spare. Even if it paled in comparison with the first two “X-Men” movies, it still fared much better than the prequel which came after it “X-Men Origins: Wolverine,” and I did not care for that one much. While I know fans and filmmakers were eager to see a more faithful adaptation of “The Dark Phoenix Saga” come to fruition, the fact this is a complete failure makes it a stunning disappointment and the first real letdown of the summer 2019 movie season. Fans of the franchise will still go out to see “Dark Phoenix,” but the most fun they will have is in analyzing everything wrong with it.

My only hope with “Dark Phoenix” now is that it can drum up interest in the long-delayed stand-alone “X-Men” movie, “The New Mutants.” That one has seen its release delayed for over two years, and 20th Century Fox can only hide it next to the Lindberg baby for only so much longer.

* ½ out of * * * *

Brian De Palma’s ‘Domino’ is Not One of His Best Movies, But Not One of his Worst Either

Domino 2019 movie poster

BRIAN DE PALMA HAS A NEW MOVIE OUT. Now that last sentence was capitalized because I’m fairly certain most of my friends do not know this, and they are big fans of De Palma’s work. His latest film is “Domino,” not to be confused the late Tony Scott’s 2005 film of the same name, and it is being released quietly in a few theaters and on VOD on May 31st. Because of the lack of any real fanfare, many are calling this film “lesser De Palma” even before they have had a chance to view it. Even De Palma doesn’t seem all too excited about its release and is instead more interested in talking about what a difficult and horrible production it was. Now this is not the way you want your movie to open.

Well, I agree that “Domino” belongs in the “lesser De Palma” category, but having seen it twice, it’s actually better than you might expect. Yes, this was an underfunded production, and the movie is a standard cop revenge one we have seen many times before, but it still contains moments which quickly reminded me of what a master filmmaker De Palma can be when he is given the freedom to unleash his cinematic magic.

Things start off in Copenhagen on June 20, 2020. Why this movie takes place in 2020 is never made clear, but anyway. We are introduced to police officers Christian Toft (Nikolaj Coster-Waldau) and Lars Hansen (Soren Malling), and we quickly discover they have been partners for quite some time to where they see one another as family. Even Lars’ wife, Hanne (Paprika Steen), sees Christian as a son, and the closeness they all feel with one another is quite palpable.

But this partnership is brutally destroyed one night when Christian and Lars investigate a domestic disturbance which has them arresting suspected ISIS member Ezra Tarzi (Eriq Ebouaney). While Christian is checking out a crime scene, Ezra breaks free of his handcuffs, attacks Lars and slashes his throat in the process. Christian gives chase, but Ezra ends up being taken away by men who have other uses for his violent talents. Regardless, Christian vows to avenge the attack on Lars and promises to bring Ezra back to face justive.

Clearly this is a straightforward revenge flick, but other layers are added to the plot as we are introduced to duplicitous CIA agent Joe Martin (Guy Pearce) who intends to use Ezra for his own needs such as using him as a pawn to catch other ISIS members. Then there is another Copenhagen cop, Alex Boe (Carice van Houten), who is eager to bring down Ezra as well and for reasons which we will eventually become clear. Revenge may be a dish best served cold, but here it comes with an endless set of complications which will lead to many, many lives being threatened.

The attack on Lars leaves Christian riddled with guilt as he made the mistake of leaving his gun behind at home, forcing him to borrow Lars’ and leaving his partner defenseless. I tell you, if this were an American cop, the gun would never have been forgotten or left behind. It would have been remembered because Americans are a little too much in love with their guns, you know? Perhaps the Danish are a bit more relaxed with guns or, better yet, they have better way of dealing with gun control policies than Americans do.

While “Domino” fails to have the same production values which are evident in De Palma’s best work, there are still moments which remind us of what a master filmmaker he can be and how brilliant he is in ratcheting up the suspense. This especially is the case in the movie’s climax in which Christian and Alex chase down a team of ISIS terrorists who are preparing to set off a bomb in an arena. As things escalate to an explosive conclusion, De Palma keeps us on the edge of our seats through some brilliant editing and the music of one of his favorite composers, Pino Donaggio.

De Palma also utilizes split screens here and there, particularly in a terrifying moment when a female suicide bomber lays waste to a red-carpet event with a machine gun. The thought of death terrifies her, but she is endlessly manipulated by ISIS leader Salah Al Din (Mohammed Azaay) who promises her a road to God no one else can give her. Of course, it’s quite telling how he is willing to let others meet God before he does, or maybe he is simply getting others to do things he doesn’t have the guts to do himself.

Some will be quick to point out how stereotypical the terrorists are in “Domino.” Granted, they do fit the stereotypes many people have of Middle East terrorists, but I personally don’t see how you can judge an entire race of people or an ethnicity just from the portrayal of a handful of them in a movie. Then again, this is not a movie eager to dig too deep into the politics or deeply held religious beliefs. It is simply a straightforward thriller eager to give us an exciting, if not altogether memorable, time at the movies or at home on television which is where “Domino” will likely find its biggest audience.

The acting for the most part is serviceable. Coster-Waldau is believable as a cop plagued with guilt, and he gives the movie the protagonist it needs. Ebouaney helps to make Ezra more than the typically stereotypical terrorist as his acts of violence serve a similar need for vengeance involving his own family. It’s always great to see Carice van Houten in anything, and she makes Alex a strong female cop and an interesting foil for Christian. But perhaps the most colorful performance in “Domino” comes from Guy Pearce as the corrupt CIA agent who thinks nothing of working with terrorists to get what he wants, or of the laws being broken in the process. Pearce is a delight to watch as he swiftly moves from one place to another with relative ease and without ever breaking a sweat.

Indeed, “Domino” will not go down as one of De Palma’s best works, but I am glad to see it is far from being one of his worst. It certainly fares much better than “Snake Eyes” which, despite an amazing opening shot, quickly turned into a hopelessly idiotic mystery thriller. It is taut, has a streamlined running time, and while its ending feels a bit too pat, it gets the job done. Although this movie is getting dumped alongside blockbusters such as “Godzilla: King of the Monsters” and “Rocketman,” it is not the complete loss many have made it out to be.

In the documentary “De Palma,” the filmmaker talked about how he feels he can no longer make a studio movie. I thought “Domino” would be his ticket to escaping the shackles Hollywood executives are quick to put any filmmaker regardless of their long-standing reputation, but judging from the behind the scenes stories, it sounds like he didn’t quite break free of them. Regardless, this movie shows he still has his gifts. While many see him as being past his prime, I still believe he has a masterpiece or two left in him. I just hope whoever he works with next gives him the tools he needs instead of forcing him to make do with only what he has been given.

* * * out of * * * *

Sarah Connor Returns in First Trailer for ‘Terminator: Dark Fate’

I know it has been a week since this first trailer for “Terminator: Dark Fate” was unleashed upon us, but it is still on my mind. Despite the tepid critical and commercial reception for both “Terminator Salvation” and “Terminator Genisys,” there is still a vested interest for some in continuing this franchise even if the thrill of it seems to have long since disappeared. But with this movie, which is meant to be a direct sequel to “Terminator 2: Judgement Day,” we get the return of James Cameron to the franchise, and this leaves me with hope we will get “The Terminator” cinematic experience we have been expecting for far too long.

Watching this trailer is a bit disorienting as it introduces us to characters who were not in the previous movies. There’s Dani Ramos (Natalia Reyes) who starts off by saying how she had an easy-going life until a few days ago, and now everything for her has gone to hell. Then we have Grace (“Tully’s” Mackenzie Davis), a tough warrior who eventually proves to be more than human. And of course, there is an especially advanced Terminator pursuing them called Rev- 9 (Gabriel Luna), and he can get from one place to another even when he’s behind the wheel of a big truck.

At this point, we can tell this is a “Terminator” movie, but then a familiar face pops up. But instead of Arnold Schwarzenegger, it is Linda Hamilton who returns as Sarah Connor, and it is great to see here playing this iconic character once again. What really surprised me about this trailer is how it makes Hamilton its biggest star instead of Schwarzenegger. In fact, we only see Schwarzenegger once, and it leaves me wondering if he is playing a terminator in this one or the man the T-800 was modeled after. Besides, he has facial hair this time around.

But having Hamilton here front and center was an inspired move, and she leads the cast of an action movie which looks to be dominated by female characters in the same way the “Halloween” reboot was. Is Hamilton too old to be playing Sarah Connor? Oh please, don’t even ask me such a silly question. All that matters is she’s back!

We do not, however, see John Connor in this trailer, but he is said to be in the movie and will be played by Jude Collie. Will John be in the background this time around? Will he be taken out early on? I cannot help but wonder.

I can’t say this trailer for “Terminator: Dark Fate” blew me away, but it does leave me hopeful that Cameron and “Deadpool” director Tim Miller can give us something on a par with the first two films in this series. Also, you have David Goyer as one of the screenwriters, and Junkie XL doing the film score. These are good omens, right?

Check out the trailer above. “Terminator: Dark Fate” will arrive in theaters on November 1, 2019.

Terminator Dark Fate teaser poster

The First Trailer for ‘Rambo: Last Blood’ Has Finally Arrived

It has been 10 years since Sylvester Stallone revived once of his most iconic characters in “Rambo” and wreaked bloody vengeance (and I mean really bloody vengeance) against the cruelest of adversaries. Since then, we have constantly wondered if John Rambo will utilize his ruthless combat skills one more time. Stallone at one point swore that this series was over and had no desire to do another sequel, but the term “never say never” was always in the air, and now he is back as the Vietnam War vet who can never keep his past at bay for too long.

The first trailer for “Rambo: Last Blood” has now been unveiled, and the movie is scheduled to be released in September 2019. My thoughts on this trailer are particularly mixed as it makes this next adventure in the violent life of John Rambo look like any other action movie. Moreover, it almost seems like a remake of “Homefront” which Stallone wrote the screenplay for. My hope right now is for “Rambo: Last Blood” to be a much, much better movie than “Homefront” was as that one really sucked.

I have a feeling it will take a little bit for audiences to realize Stallone is playing Rambo again as the character no longer has a mullet. Instead, he has the same kind of haircut Stallone sports in most of his movies, and adds to the business as usual look this trailer gives off. It is only when Stallone wields his famous knife or picks up his bow and arrow that you realize whom he is portraying. Perhaps the moment which will make you see Stallone is playing Rambo once again is the last image of him with a bloodied face as he prepares to jam his knife down into some place where the sun don’t shine.

Stallone has said he intends for this “Rambo” chapter to be a “soulful journey” and his version of “No Country for Old Men.” Truth be told, it does have a very similar look to the Coen brothers’ Best Picture winner. Or perhaps it will be something along the lines of “Logan” which allowed Hugh Jackman and James Mangold to bring permanent closure to the story of Wolverine. Still, this trailer makes this sequel look like any other action flick, and my hope is the next trailer we get will make it look a bit more unique.

Directing “Rambo: Last Blood” is Adrian Grunberg who previously directed Mel Gibson in “Get the Gringo” and also worked with Gibson as a first assistant director on “Edge of Darkness” and “Apocalypto.” Whatever you may think of Gibson as a person these days, he has proven to be one hell of a filmmaker, and I hope Grunberg has learned a lot from his style to make this “Rambo” sequel more thrilling and bloodier than this trailer suggests.

And yes, this is said to be the last “Rambo” movie ever, but while at the Cannes Film Festival recently, Stallone did say he would continue playing John Rambo if this fifth film does well. In the end, the box office will have the final say on this.

Check out the trailer for “Rambo: Last Blood” above.

Rambo Last Blood Teaser Poster

‘John Wick: Chapter 3 – Parabellum’ is an Action Movie Buff’s Wet Dream

John Wick Chapter 3 movie poster

The “John Wick” movies have been an action movie buff’s wet dream, and “John Wick: Chapter 3 – Parabellum” doesn’t disappoint in the slightest. It is an exhilarating ride featuring a vast assortment of brutal fight sequences with all kinds of weapons being utilized, and even horses are around to provide painful injuries to assassins eager to terminate the ex-hitman who hasn’t lost a beat since his retirement. Yes, the body count is high, and taking this into account reminded me of what Col. Trautman told Sheriff Will Teasle will need to have handy while trying to capture John Rambo in “First Blood:”

“A good supply of body bags.”

Yes, and you need a really good supply of body bags when it comes to taking down John Wick. This ex-hitman has been legendary from the get-go to where crime lords, once they realize who they are up against, can only say “oh shit” when his name is mentioned. Going into “John Wick: Chapter 3,” I hoped those looking to take out Mr. Wick bought their body bags in bulk from Costco. Better yet, they still sell coffins, right?

“John Wick: Chapter 3 – Parabellum” begins shortly after Mr. Wick was declared excommunicado by his handlers at the High Table after killing a crime lord on the grounds of the New York City Continental. Winston (Ian McShane) has given John an hour head start, and this chapter starts off with only a half hour so remaining before the $14 million bounty is made public to all assassins. As John runs furiously through the streets of New York City, even a homeless bum is aware that the contract on his life is about to begin, so who can he possibly trust?

Even before his hour is up0, we find John fighting the first of many adversaries with only a book. It certainly worked for Matt Damon in the “Jason Bourne” movies, but Keanu Reeves takes things a step further by killing someone by breaking the guy’s neck with the book, and it is a brutal kill which had me saying “ouch” out loud in the theater. I love action movies which have me reacting viscerally to the violence on screen, and this is definitely one of them. Sitting back and passively observing routine action sequences is something I have long since grown weary of watching, so it’s always reassuring when something like “John Wick” comes along as the filmmakers make you feel all the punches, bullets, knives and horse kicks which come to be inflicted on dozens upon dozens of characters, most of whom have no idea who they are dealing with.

In “John Wick: Chapter 2,” it quickly became clear that it would take more than one bullet to take out an opponent. In this chapter, the same rule applies to when knives are used as it takes three or four to stop your assailant dead in their tracks. One of the first big action sequences involves characters hurling the sharpest of knives at one another, and I’m guessing it was adrenaline which kept some going even after the second knife inserted into their bodies failed to put them down. And just when you think a knife isn’t going to be shoved into a certain part of the body, it does. It’s nice to see an action movie which not only defies your expectations, but also refuses to set limits in terms of which body parts get damaged.

But in the midst of all the crazy action scenes, there is a story and characters worth following. With what seems like the whole world coming after John Wick, you have to wonder why he still wants to have a pulse after all he has been through. His answer is he wants to preserve the memory of his late wife, Helen, and to earn the right to do so. The question is, will he be willing to pay the price to make this happen?

Keanu Reeves is an actor most people are quick to ridicule as they don’t see him as having much range, and that’s putting it nicelt. We first got to know him as Ted Theodore Logan in the “Bill & Ted” movies, and since then many have been quite to call him a terrible actor as he appears to give only one-note performances. I myself am willing to defend Reeves more than my friends are willing to on a regular basis. He has given memorable performances in “Permanent Record,” “Speed,” “Point Break,” “My Own Private Idaho” and “The Matrix.” Still, there are those who are quick to remind us of the work he did in “The Whole Truth” and “Knock Knock,” and watching him in those movies proves to be as painful as the bruises he suffers throughout this sequel.

Reeves really hits it out of the park here, and he throws himself into this role in both a literal and figurative sense. I also have to say he handles guns with such ferocity and precision to where I cannot think of another actor who can accomplish the same feat so effectively. I had no problem accepting him as a hardened assassin who is lethal beyond repair, and he has long since turned this tragic figure into much, much more than the B-movie antihero he started out as. And considering how Reeves has suffered more tragedy in his personal life than any one person should ever have to endure, he has a full understanding of John’s loss and of the importance to stay alive to keep the memory of his late wife alive. Yes, it is hard to think of another actor who could inhabit this character as effectively as he does.

Oscar winner Halle Berry shows up as Sofia, a close friend of John’s and an assassin just like him, and she handles firearms every bit as well as Reeves does. Too bad she disappears from this sequel far too soon.

The great Anjelica Huston steals every scene she has as the Director, a strict dance instructor and member of the Ruska Roma who offers John safe passage. Even as Huston makes this character look cold as steel, she allows you to see the brief glimmers of humanity she is forced to show at her most painful moments.

And as always, it is great to see Ian McShane back as Winston, the owner and manager of the Continental Hotel in New York. Ever since I first saw him in the brilliant “Sexy Beast,” McShane has never failed to make the slimiest and nefarious of characters all the more intriguing to where you can’t take your eyes off of him for a second. The same goes here as he makes Winston an enigma as the character holds his cards close to his chest while manipulating those around him with a controlled glee.

I came out of “John Wick: Chapter 2” wondering if there was any way director Chad Stahelski could top the insane mayhem that sequel had to offer. While this third chapter has a slightly lower body count, I think he has succeeded in doing so as the ways Mr. Wick dispatches his enemies are infinite to where no one can or even should feel safe around him. The only thing more insane is how it sets the ground work for a fourth chapter which is now set to be released in 2021. Personally, I cannot wait for the next chapter as this third one proves to be the kind of exhilarating and exhausting action movie I am always hoping to see at the local multiplex.

It’s almost a shame “John Wick: Chapter 3 – Parabellum” is coming out now as we can only pray the other movies of the 2019 movie season can measure up to this one in terms of endless excitement and the adrenaline rush. This one was well worth the wait, and it continues to provide Keanu Reeves with some of the best work in his long career.

I also have to say this sequel may very well have more scenes of exploding glass or characters being thrown into glass with epic shattering effect since “Another 48 Hours,” and that sequel came out in 1990. If there has been another movie since then which topped it before this “John Wick” chapter did, please let me know.

* * * * out of * * * *

‘Pet Sematary’ Remake Easily Improves on the Original

Pet Sematary 2019 movie poster

Of all the Stephen King cinematic adaptations up for a remake, “Pet Sematary” is the one I looked forward to the most. I never cared much for the 1989 version directed by Mary Lambert. It wasn’t a terrible movie, but it was undone by a screenplay which tried to fit in too much from King’s novel, and ironically it was a screenplay written by King himself. While Fred Gwynne was perfectly cast as Jud Crandall, Dale Midkiff’s performance goes way over the top and contains moments which Kevin Smith and Ralph Garman are justified in describing as “exquisite acting.” And there was the ending which was undone by test screenings where the audience demanded something more graphic. Bitch, please!

Now we have the remake of “Pet Sematary” which comes to us from the directors of “Starry Eyes,” Kevin Kölsch and Dennis Widmyer, and it is easily an improvement over what came before. It is not a great horror movie, but even if it were, it is nearly impossible to top King’s 1983 novel which itself is one of the darkest works of fiction ever conceived. Heck, even King himself thought he went too far with it, and that should tell you something. Still, it is an effective film which pays tribute to the spirit of the novel even as it makes changes to the source material in a way I did not see coming.

As before, the story starts with Louis Creed (Jason Clarke) driving with his wife Rachel (Amy Seimetz) and their two kids to their new home in the small town of Ludlow, Maine. We learn that Louis and Rachel were looking to escape big city life for something simpler and countrylike to where they could spend more time with each other and the children. When they arrive at their new home, it looks like a heavenly and peaceful place which they will serve them well, but we all know where the story will go from there as a huge 18-wheeler truck zooms by with little warning while leaving a lot of dust and dead leaves in its wake.

The first half of the “Pet Sematary” remake more or less follows King’s novel to the letter as it treads familiar ground while adding some interesting touches in the process. Upon discovering the pet cemetery of the movie’s title, we also see a procession of children wearing animal masks as they march on by while carrying a dead dog in a wheelbarrow to the place which will bring about its resurrection. Both Kolsch and Widmyer give this movie a wonderfully unnerving feeling which they keep building on throughout as things for the Creed family get worse and worse to where they have little chance to regret the deeds they have committed.

WARNING: SPOILERS AHEAD.

One of the interesting things about this version is how the filmmakers have switched elements around, but in a way which does not take away from the spirit of the novel. Instead of young Gage getting run over by a truck driver who is distracted by his cell phone (and who isn’t these days?), it is Ellie, and the reaction of her parents to this terrible tragedy feel all too real to where neither has to yell out in sheer anguish.

Jeté Laurence plays Ellie Creed, and her performance is especially impressive as she makes this resurrected character far more than a zombie with a thirst for blood. Ellie seems very aware of the fact she is not who she once was, but she also has knowledge of what lies beyond the realm of the living, and she becomes a little too eager to bring her parents to the other side of it.

Jason Clarke has long since proven to be one of our most dependable actors in movies today with his terrific performances in “Dawn of the Planet of the Apes” and “Chappaquiddick.” Clarke makes Louis Creed into an especially sympathetic character even as he comes to play God when it comes to Ellie’s life. The late Victor Pascow (Obssa Ahmed) warns Louis not to exceed the boundaries set for humanity, but Louis is blinded by a grief I would not wish on anyone, and his desire to undo a terrible tragedy is understandable even if it flies in the face of reason, logic and the saying of “sometimes dead is better.”

Amy Seimetz, who co-starred in “Alien: Covenant,” also makes the most of her role as Rachel Creed, an individual who has dealt with death a far too young an age. Rachel remains forever haunted by the passing of her sister Zelda (Alyssa Brooke Levine) whom she was forced to watch by her lonesome while their parents were away. Indeed, Seimetz makes you deeply feel the unfairness of Rachel’s predicament as no child should be forced into such a position at such a young age, and it proves to be one of this movie’s most haunting segments as a result.

And while there is no topping Fred Gwynne’s performance as Jud Crandall, the great John Lithgow succeeds in making this role his own. How many movies and TV shows have we watched Lithgow in anyway? He has been a constant in popular culture, and he remains a welcome presence in anything he appears in. Lithgow doesn’t have to do much to show how Jud has lived a long life which has been filled with one tragedy too many, and this is the mark of a great on camera actor.

Kölsch and Widmyer do an excellent job of raising the tension and overbearing atmosphere of the story throughout the movie’s running time, and they don’t just resort to giving us jump scares every five minutes. They are also aided by a powerful film score composed by Christopher Young which makes an already unnerving motion picture even more so.

“Pet Sematary” is one of the few books I got to read before it was turned into a movie, and this is quite the feat for me these days as filmmakers typically beat me to the punch. As a result, my perspective of the book will forever remain more powerful than any movie made out of it. Still, this cinematic version of it is a powerful one which takes chances with the source material while remaining true to its spirit. I am also quite thankful the filmmakers had enough freedom to give this movie the ambiguous conclusion it deserves. I am a big fan of ambiguity in movies, and this one has an unsettling conclusion which stays with you long after you have walked out of the theater.

Still, I would have preferred The Ramones’ version of their song “Pet Sematary” as opposed to the cover of it performed here by Starcrawler. Nothing against their version, but in this case the original reigns supreme.

* * * out of * * * *

The Second and Final Trailer for ‘Spider-Man: Far from Home’ Has Been Unveiled

WARNING: This trailer, as Tom Holland indicates at the start, contains spoilers for “Avengers: Endgame.” If you haven’t seen that superhero juggernaut yet (and why haven’t you?), don’t watch this trailer until you have.

With the second and final trailer for “Spider-Man: Far from Home,” a number of things are cleared up. Whereas it was previously suggested that this movie would be a prequel to “Avengers: Infinity War” as Peter Parker was seen disintegrating into the dust at the end of it, this one makes clear how this one takes place after the events in “Avengers: Endgame.” And just when the Marvel Cinematic Universe looks to have hit its creative and commercial peak, this trailer shows there is still plenty of life left for those characters who managed to survive Thanos’ snap.

The trailer begins with the acknowledgement that Tony Stark/Iron Man (Robert Downey Jr.) is no longer in the land of the living, and this deeply affects Peter Parker who saw Tony as the father figure he needed in his life. But with him going on vacation with his high school friends to Europe, Peter looks to finally get a break from his friendly neighborhood Spider-Man duties. Of course, when Nick Fury (Samuel L. Jackson) shows up unexpectedly, you know Peter won’t have much of a choice, and this is especially the case after Nick tells him, “Bitch please! You’ve been to space!”

It’s funny actually. Since 2002, there have been seven “Spider-Man” films including last year’s delightful Oscar winner “Spider-Man: Into the Spider-Verse.” After the cinematic debacle that was “The Amazing Spider-Man 2,” it looked like franchise fatigue had finally overtaken our beloved Peter Parker. But watching this trailer for “Spider-Man: Far from Home” has me believing things could not be better for the famous web-slinger. Things which have been dealt with in the previous films will be dealt with here, but in a way which feels genuinely fresh.

Plus, we have Jake Gyllenhaal, at one point in consideration to play Spider-Man, portraying Quentin Beck and his alter ego of Mysterio. Gyllenhaal has long since proven to be an acting force to be reckoned with thanks to his superb work in movies like “Brokeback Mountain” and “Nightcrawler,” and this second trailer shows his character to be a little more than the average antagonist we were initially led to believe.

After watching this trailer, I believe there is still plenty of life left in the Marvel Cinematic Universe as Thanos’ initial snap opened up the multiverse more than we initially realized. As with any other movie, I am trying to remain guarded about my expectations, but I very much look forward to seeing this superhero motion picture when it arrives in theaters this summer.

Spiderman Far From Home teaser poster

‘I Spit on Your Grave: Deja Vu’ Gets Grindhouse Poster and Trailer

I Spit on Your Grave Deja Vu grindhouse poster

While I have already made clear my thoughts about the long-awaited sequel “I Spit on Your Grave: Déjà vu,” there are still some things about it I cannot help but admire. There are the performances of Jamie Bernadette and Maria Olsen, and now we have a new poster and trailer done in the style of a grindhouse film. Grindhouse, aside from being the title of an awesome cinematic experience directed by Robert Rodriguez and Quentin Tarantino, is a term for a theater in America which screens exploitation films. These films were known for containing a lot of sex, violence, blood, gore and different bizarre elements you would never see in the average Disney movie. They were also afflicted with low production values and poor print quality, but these of course became qualities fans of the genre loved to no end.

These grindhouse qualities are more than evident in the newly released poster and trailer for “I Spit on Your Grave: Déjà vu,” and I got a huge kick out of both as a result. The poster features Bernadette quite prominently, but it also includes the many characters who inhabit this sequel as well as some of its most unforgettable images. The color scheme is perfect as it makes the poster appropriately grungy, just like a grindhouse film should be.

As for the trailer, it features footage from “I Spit on Your Grave” and makes it look as though the film is about to break (like I said, poor print quality). When it gets to “Déjà vu,” the footage is cleaned up but now dominated by a hard rock score and a narrator who sounds like he is reveling in this sequel’s down and dirty qualities. Watching this makes me want to view this sequel again, and that’s even though it is highly unlikely my opinion of it will change.

In addition to it now being available on DVD and Blu-ray. “I Spit on Your Grave: Déjà vu” is also available to watch on VOD.

Also, please feel free to check out the Q&A from “Deja vu’s” premiere screening in Beverly Hills, California down below.

‘Avengers: Endgame’ Had Me Going Out of the Movie Theater Saying Wow

Avengers Endgame poster

WRITER’S NOTE: Will or will not this review have spoilers? Does it matter pointing it out at this point? Like any other movie, it would be best to keep from reading this review until you have seen this one.

Now you all know how much I hate the term “based on a true story” as it has long since lost its meaning for me, but there is also another I get seriously annoyed with, and it is this one: “it has all led up to this.” When a movie trilogy reaches its end or a television show finally arrives at its season or series finale, this phrase is often utilized as a way to get butts in the seats or eyes glued to the television in a why which will have advertisers salivating to no end. More often than not, it feels like a shameless trick to get us to watch something we otherwise wouldn’t, and we come out of it feeling angry as we have been easily duped.

But when it comes to “Avengers: Endgame,” the term “it has all led up to this” makes perfect sense. This is the 22nd film in the Marvel Cinematic Universe which started back in 2008 with “Iron Man,” but this one has a strong sense of finality as the superheroes we have followed all these years will rise and fall all at the same time. Yes, the MCU will continue on, and we have “Spider-Man” and “Black Panther” sequels to look forward to, but after this penultimate installment, things will never be the same. What results is an exhilarating motion picture which thrills even the most jaded of moviegoers, and its conclusion will leave you emotionally drained for very good reason. Yes, it really has all led up to this.

Three weeks have passed since Thanos (Josh Brolin) captured all the Infinity Stones, snapped his finger and eliminated half of all life across the universe. Those Avengers who survived the snap are, as you can expect, infinitely eager to avenge those lives who disintegrated, but their quest for justice does not go in the way you might expect. In fact, for some it comes too quickly and leaves a lot of damage in its wake.

Following this, the movie then jumps ahead five years as what is left of humanity is grappling with the things they can do in the aftermath. Some are still eager to undo what Thanos did while others have done what they can to move on. Either way, they are dealing with a clear case of survivor’s guilt, and their enthusiasm for saving the universe is not what it used to be.

Yes, these characters are blessed with super powers we would love to have o, but the filmmakers are quick to show us how they are as human as we are. They suffer from doubts, anxiety, frustration and, as this movie begins, they are overcome with despair. While they may be special or gifted, they aren’t much different from the average joe as the weight of the world lies heavily on them, and they don’t have time to balance their checkbook. (Who does anyway?)

Time travel plays a significant role in this MCU movie as a couple of the Avengers, namely Scott Lang/Ant-Man (Paul Rudd) and Tony Stark/Iron Man (Robert Downey Jr.), come up with a theory which will make it possible for them to accomplish, albeit with some limitations. Like everyone else, the Avengers have seen every time travel movie ever made and are quick to mention such classics as the “Back to the Future” trilogy, “Time After Time,” “Timecop” (was this particular Jean Claude Van Damme film ever that popular?), “Bill and Ted’s Excellent Adventure,” and even “Hot Tub Time Machine.” Somehow, “Star Trek IV: The Voyage Home” was left off this list, and I am deeply perturbed as a result. The Enterprise crew saved humpback whales in that one for crying out loud!

I enjoyed how “Avengers: Endgame” plays on our knowledge of time travel as a plot device. Even though science renders these various time travel methods to be utterly bogus, the pluses and minuses of actually changing historical events are always prominent in our minds. Remember all that talk about the space time continuum? Whether or not the conclusion of this movie is in doubt, I spent much of it wondering how things would end up once the mission was complete. What gave me comfort was what Doc Brown said in “Back to the Future Part III” about how the future isn’t written and how it is whatever you make it.

Granted, the time travel aspect does get a bit confusing at times, especially when certain characters end up facing off against their past and present selves. It reminded me of when Austin Powers faced a similar predicament in “The Spy Who Shagged Me,” and that one was a comedy. But the movie proves to be so much fun, who cares?

Helming “Avengers: Endgame” are Anthony and Joe Russo, brothers who have been a major asset to the MCU ever since they directed “Captain America: The Winter Soldier.” Along with screenwriters Christopher Markus and Stephen McFeely, they have an infinitely impossible job of balancing out a story filled with far too many superheroes, most of which will not get the same amount of screen time as the biggest ones of all. The ending is bombastic, but never in an overwhelming way. And yes, it is three hours long, but it never drags nor is it in need of a top-notch editor the way “I Spit on Your Grave: Déjà vu” was. For what it’s worth, you can head straight to the bathroom once the end credits start as there are no special scenes during or after them.

I imagine a lot of people look at these “Avenger” movies as being the kind which don’t require the cast to give their best performances ever. This assertion, however, is deeply unfair as many of the actors here have inhabited these characters for close to a decade. From one movie to the next, we see these characters evolve in meaningful ways to where we have to recognize what the passing years have done to them. It does not matter how incredible they are because they age like us even if they don’t always show it.

Chief among the cast is Robert Downey Jr. whose role as Tony Stark/Iron Man helped to rejuvenate a film career which looked to be permanently undone by drug abuse. Downey has taken Tony from being a lovably arrogant playboy millionaire to a less self-centered man who becomes eager to reign in his fellow superheroes before they do damage they won’t be able to walk away from. Tony himself has some interesting developments along with Pepper Potts (Gwyneth Paltrow) to where his hesitation to disrupt the course of events is challenged endlessly, and watching him here makes you realize how far he has come in this role.

Another actor is Chris Hemsworth who has had quite the journey as Thor. For his first two movies, he portrayed the powerful Asgardian as an unshakably pure force who could not ever be corrupted. Then came “Thor: Ragnarok,” the best “Thor” film yet, which allowed Hemsworth to take some risks with the character in ways which made him even more interesting. With “Endgame,” we get to see Thor in his Big Lebowski phase, and we can tell Hemsworth is just having a blast taking this superhero in this direction. We should applaud him for taking chances here as other actors would have been a bit too fearful to do so.

Then there is Chris Evans who took Steve Rogers and his alter-ego of Captain America from what we thought would be the average white guy and turned him into a charismatic good guy in a way we did not see coming. Evans really hits his peak here in the MCU as he finishes his run in a very moving way, with Steve Rogers getting to reclaim a part of his past he thought he lost many years before. It is not spoiling anything to say this is Evans’ last time playing this superhero, but seeing him take his curtain call here is wonderfully fulfilling.

Coming out of “Avengers: Endgame,” all I could say was, wow. It’s the perfect capper to an amazing franchise, and my hat is off to everyone at Marvel for crossing the finish line in such an unforgettable way. DC Comics and Warner Brothers can only hope to be this successful with their own cinematic universe. Not once was I worried this franchise would flame out the way “The Matrix” did with “The Matrix Revolutions.” Everyone involved hit it right out of the park with this installment, and you don’t even need record breaking box office to prove it.

Of course, the question now is, where will the MCU go from here? I cannot see Marvel topping what they did here, especially with the cast taking their bow in the way the original Enterprise crew did at the end of “Star Trek VI: The Undiscovered Country” by providing their signatures. I imagine there are many more Marvel movies in our future, but the journey from here will still be fraught with expectations which may or may not be met. If this was to be the last MCU ever, it would have been perfect. All the same, superhero/comic book movies still reign supreme at the box office, so hopefully the ones coming soon to a theater near you will still be wonderfully entertaining. Whether or not they are as glorious as this one is another story.

* * * * out of * * * *