Weekend Watch - The Penguin Episode ONe

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers, is the debut episode of the television spin-off of 2022’s superhero hit The Batman – The Penguin. It describes itself as a series following Oz Cobb (the Penguin) as he tries to seize the power in Gotham City’s criminal underworld and picks up following the events of The Batman. The show stars Colin Farrell in the titular role, reprising his performance from Matt Reeves’s film, joined by Cristin Milioti as the daughter of the deceased mob boss Carmine Falcone, Sofia, Rhenzy Feliz as an inopportune henchman that Oswald picks up, Victor Aguilar, Mark Strong as Carmine Falcone in flashbacks, and Clancy Brown as the imprisoned mob boss Salvatore Marone. The show is also slated to feature performances from Theo Rossi, David H. Holmes, and Kenzie Gray. Its first episode aired this past Thursday with subsequent episodes releasing on Sundays starting next week. Let’s get into it.

Letter Grade: B+; a strong, if slow, opening provides plenty to be optimistic for as the rest of the season unfolds, but I’m not going to guarantee anything just yet.

Should you Watch This Show? If you loved Matt Reeves’s The Batman and want to get a taste of that version of Gotham again, this is a must-watch. If you’ve been craving a good crime drama on television that doesn’t revolve around cops and lawyers, this also definitely checks that box, and it might also be a great prestige miniseries that everyone should watch by the time everything’s said and done.

Why?

                The Penguin’s first episode takes us deeper into the criminal underbelly of Gotham City, focusing on the grounded world of organized crime where Oz Cobb and his associates operate. It picks up immediately after the events of the film, giving unfamiliar audiences (what few there may be) a quick montage of news reports explaining the pertinent details as Cobb stands by a window overlooking Gotham, plotting his rise to power. The show then takes off with a literal bang as he finds himself scrambling to cover up a murder with the help of a hapless street criminal (Feliz’s Vic) who had the unfortunate luck of being caught trying to steal the Penguin’s rims. The remainder of the episode spends its time introducing us to the various characters who will no doubt become important players over the course of the season as Cobb visits mob mansions, prostitute-populated streets, drug factories, prison, and even his mother’s home in the suburbs as he attempts to shore up support in the city while gauging the wisdom of staying versus fleeing the inevitable gang war. Across it all, Farrell’s Penguin remains the central figure, playing all sides with just as much weight and squirrelliness as he had in the film, and we start to see the shape that this (mini?)series will be taking. The question of whether Cobb ends up more as a Tony Soprano or a Vito Corleone feels like the real drama of the series, and it should be a fun ride along the way.

                If there’s any major complaints to level against this first episode, it lies in its relatively slow pacing after a quick opening. It teases us with threats of mob violence and surprising turns, but so far all of the surprising turns have had very little lasting impact, serving more as tantalizing teases that never pay off as intensely as they possibly could. Obviously, this is the first episode of an eight-episode season, so they can’t be dropping every body and complicating the plot too much early on, but there will definitely be some fans who’ve come to the show more for its comic book premise than its mob drama who won’t be thrilled with the limited action of this debut. There’s enough twists and turns that have the potential to pay out into some interesting complications down the road that I’m willing (and even excited) to give the show time to cook up to its inevitably messy conclusion. Is this show going to dethrone The Sopranos or The Wire as the best crime drama in the history of television? Doubtful. Is it going to be the high action, high easter egg comic book show that Gotham was? Also probably not, but if you want a show that blends the energy of those two types of shows fairly well so far, you’d be hard-pressed to find something better.

                Led by a consistent Colin Farrell performance and the welcome addition of Cristin Milioti as his more ruthless foil, The Penguin promises to be a fun blend of comic book action and mob drama that might by your next favorite miniseries if it can follow-up on the many promises of its first episode. The next episode comes next Sunday (the 29th), and it should give us a better idea of the direction that everything’s headed. Here’s hoping it can come close to living up to the excellence of the film that inspired it.

Weekend Watch - Killers of the Flower Moon

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating and review. This week’s topic, as voted by the blog’s Instagram followers, is Martin Scorsese’s latest crime epic, Killers of the Flower Moon. The film opened across the U.S. this weekend amid huge buzz for the prolific filmmaker’s return to the director’s chair. Based on David Grann’s nonfiction book of the same name, the film documents the Osage Indian murders of the 1920s, focusing on the perpetrators Ernest Burkhart and William Hale and one of the survivors, Mollie Burkhart. It stars Leonardo DiCaprio as Ernest, Robert De Niro as Hale, and Lily Gladstone as Mollie, and also features Jesse Plemons, John Lithgow, Brendan Fraser, Cara Jade Myers, Jenae Collins, Jason Isbell, William Belleau, Louis Cancelmi, and Scott Shepherd in prominent roles. Let’s get into it.

Letter Grade: B+; if a three hour and twenty-six-minute runtime sounds daunting, this film will not be your cup of tea. The positives outweigh the negatives here overall, but it’s not a film without flaws.

Review:

                Martin Scorsese is back with another weighty true crime story with some of his favorite collaborators and new faces as well. This one takes us to the plains of Oklahoma, the land of the Osage in the 1920s, where vast oil reserves made the Native Americans one of the wealthiest people groups in the world before the wealth drew American settlers looking to use intermarriage and “accidental” deaths to steal that wealth away. It’s a story that begs to be told, and Scorsese feels like one of the better choices to tell it, honoring the heritage and culture of the Osage even as he focuses the spotlight on the white perpetrators. The three central performances carry the film’s hefty runtime, not really lightening the load but making it a more acceptable slog. Is the film 20 to 40 minutes longer than it could be? Probably, but I think most of the length comes from an intentionally plodding pace rather than an excess of unnecessary story moments. It would feel a disservice to cut much of the story, but a more typical Scorsese pace could have shortened things a bit and made it more easily marketable to a wider audience.

                Your take on the latest Scorsese film will most likely come down to how willing you are to bask in the corruption and deceit of William Hale and his cronies because Scorsese really wants you to take it all in – to witness just how far American greed is willing to go and just how many people it’ll walk over to make a profit. If you come in knowing much about the story, the slow pace could frustrate rather than engulf and leave you wondering why you agreed to sit for this long watching a single film whose outcome you already knew. If you don’t know much, there’s enough from moment to moment that keeps even the slow moments engaging as the web becomes more and more complex. I’m not sure how effective putting DiCaprio’s Ernest Burkhart as the film’s focus is for the goal of the film, since he’s almost too much of a yes-man to feel like the scathing picture of an American capitalist that Scorsese loves to portray as his leading hero/villains. De Niro’s Hale as the lead could have been a truly chilling look at American greed, and Gladstone’s Mollie could have provided more of that victimized minority perspective were she serving as the lead instead. As it stands, the story has impact because of how tragic and seemingly thoughtless most of the deaths were, but it doesn’t go a long way in offering any modern condemnation of continuing American exploitations in the name of “progress” and capitalism.

                As I mentioned above, the three leads drive the film, even if their characters don’t necessarily receive the proper amount of screentime, respectively. DiCaprio is on his A-game as the leading man, blending the affability of Rick Dalton with the sliminess of Calvin Candy and the greed of Jordan Belfort to produce the bumbling henchman that is this film’s leading man. I don’t know that I’d go so far as to put it as the actor’s best performance, but in combining his three best performances, the actor unlocks something unforgettably gray and discomforting in this film. Gladstone turns in a career-making performance as Mollie, offering the audience a quiet but pervasive look into the viewpoint of the victims of these crimes. It’s a slow-developing performance that percolates as the plot of the film does, hitting its peak in the third act when she finally knows as much as the audience does and delivers the deathblow to Ernest’s illusions of coming back from everything that he has participated in with no lasting repercussions. It is De Niro’s performance, though, that truly dominates the film. His portrayal of William Hale will go down with Ledger’s Joker, Bardem’s Anton Chigurh, DiCaprio’s Calvin Candy, and Waltz’s Hans Landa as one of the best villains of the 21st century. He’s a character that’s so chilling because he really believes that his actions are justified and that his “good” deeds excuse any evils and victimization that result from his machinations.

                With captivating performances from its three leads and a story that absolutely has to be told, Killers of the Flower Moon outshines an excessive runtime and a focus on the wrong character to insert itself into the upper echelons of films released this year. It’s not going to be everyone’s cup of tea, especially being as long as it is, but Scorsese’s filmmaking certainly hasn’t fallen off with this latest outing.

Weekend Watch - Fast X

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers, is Fast X, the eleventh film in the Fast and Furious franchise and tenth of the main continuity about Dom Toretto and his “family” of drivers, racers, and thieves. The film stars the usual suspects of Vin Diesel, Michelle Rodriguez, Jordana Brewster, Tyrese Gibson, Ludacris, and Sung Kang joined again by cameos (and a bit more) from Jason Statham, Helen Mirren, Nathalie Emmanuel, Charlize Theron, Scott Eastwood, and John Cena. The film also introduces the new faces of Brie Larson, Jason Momoa, Alan Ritchson, and Daniela Melchior to the ever-expanding cast of characters in this high-octane universe of mobile heists, double crosses, and family. Let’s get into it.

Letter Grade: B+; for the most part, this is a really good Fast and Furious film, it just has a few too many ill-delivered one-liners, unexplained cameos, and a wild cliff-hanger keeping it from joining the upper echelons of the franchise.

Should you Watch This Film? If you’re ok with a pure thrills film, this film is great for that – entertaining and heart-pounding as all get out. If you’d rather only consume thought-provoking media, you can probably skip this one.

Why?

                Fast X fully embraces the niche that the franchise has carved out for itself, containing a plethora of cheesy one-liners, ridiculous car chases, enemies becoming friends, and some classic street racing to keep the fans happy. There are times when the film almost seems in on its own joke, particularly a high-intensity conversation between Brie Larson’s Tess and Alan Ritchson’s Aimes – high-ranking members of the Agency discussing how to treat the pattern of destruction that Dom and his team consistently leave in their wake. Its story defies the logic of even the suspension of disbelief, seeing the team travel to all points of the globe on thin leads and thinner motivations as Momoa’s Dante Reyes carries out his vengeful plan to divide and destroy Dom’s family. Momoa is himself the highest point of this film, fully committing to a completely unhinged villainous performance that just might be the best baddie of the franchise so far. It’s obviously a film designed to get your heart pounding and your adrenaline up, and it succeeds there even if it fails in its writing – there’s no denying that it’s a good time.

                The action sequences of Fast X are its defining trait, and each one delivers something different and new and ridiculous, which is why this film ends up working as well as it does even with its poor writing and vaguely frustrating cliffhanger ending. The opening sequence serves up a reshoot of Fast Five’s vault heist to establish Dante’s villainous origins – nothing too crazy, but it’s still fun to watch that scene on the big screen again. The Rome heist ends up becoming a giant game of pinball with cars and bombs rolling through the streets of the iconic city in insane but gripping fashion. Jason Statham and Sung Kang get a fight scene that goes a long way in quashing their characters’ beef, as does the reportedly directorless fight between Rodriguez’s Letty and Theron’s Cipher. There’s a solid character-establishing race in Rio between Dom and Dante that features some higher stakes than your typical F&F race, keeping the scene fresh. And the film’s final sequence, featuring John Cena’s Jacob’s “cannon car”, an army of nondescript black chase cars, Dom’s requisite muscle car, Dante pulling the strings, and a surprise twist and cliffhanger, delivers that gut punch that you want in a film setting up a duology/trilogy with enough action to still be satisfying.

                A next-level villainous turn from Jason Momoa might be the real piece that keeps Fast X in the top half of the franchise rankings. From front to back he full-sends the most outrageous villain that’s ever graced the screen in a Fast and Furious film. He matches the ridiculous energy that the franchise seems to have hit with its last few installments and cranks the whole thing up to twelve with flamboyant outfits, more cocky swagger than a WWE entrance, and an unhinged level of cruelty on par with the Jokers and Anton Chigurhs of the world, minus the cerebral films built around them. He had my jaw dropped for most of his screentime with how committedly over-the-top his performance was, and I look forward to seeing more stuff like this from the actor.

                The familiar high-adrenaline action of the Fast and Furious franchise delivers again in Fast X, keeping it a solid action film with the help of Momoa’s time in the villain’s seat despite some poorly constructed dialogue and a story that strains incredulity. It’ll leave audiences with plenty of thrills and high-octane fun even if it’s not among the best the franchise has to offer overall. This is a theatrical experience for sure if that’s what you’re looking for. If it’s not, I won’t recommend going out for a hate-watch. At this point you know whether you like the Fast and Furious movies or not, and this is not a big deviation from the formula.

Weekend Watch - John Wick: Chapter 4

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers is John Wick: Chapter 4, the latest (and final?) chapter of the Keanu Reeves action saga about the hidden world of assassins and intrigue run by the mysterious High Table. This film features the return of Reeves in the titular role as well as Laurence Fishburne, Lance Reddick, and Ian McShane reprising their roles from the previous films. Joining the cast in this iteration are Clancy Brown, Marko Zaror, Bill Skarsgård, Donnie Yen, Hiroyuki Sanada, Shamier Anderson, and Rina Sawayama to round out the action film’s ensemble of players. The film currently sits as the best reviewed of the franchise, so let’s get into it.

Letter Grade: A-; the film delivers everything we’ve come to expect from the John Wick franchise and then some with very little to gripe about.

Should you Watch This Film? Yes, but only if you’ve watched the previous three or at least read detailed synopses of them, otherwise most of the film’s stakes and references will make little to no sense.

Why?

                John Wick: Chapter 4 is the culmination of the story and violence of the three previous films. Picking up a short amount of time after Chapter 3, this one again hits the ground running but this time with John as the pursuer rather than the pursued. This film unfolds differently than its predecessors because of this shift, focusing on the High Table’s response to John’s aggression against them, resulting in more time to breathe between set pieces but also more character development and exploration of the saga’s central themes of revenge and cyclical violence. Obviously, the action remains the highlight, but the characters are given space to live and die here as well.

                Chapter 4 might be the best of the John Wick franchise because of how it brings closure to the story of the first three. From the simple revenge tale of the first to the frustration at being drawn back into a life of violence of the second to the repercussions of his actions from the second in the third, everything is brought home in Chapter 4. John’s desire for freedom from his past life, his vendetta against the High Table, the political machinations of the Bowery King and Winston – all of them are brought to a close in one way or another in this chapter. The world gets a bit more fleshed out but only as far as it needs to in order to understand how John can possibly attain his goal of escape. The true highlight of the film is John’s attempt to answer whether he can have a life outside of the killing – the question at the heart of every John Wick film. In this case, he seems to have decided that one final push of killing anyone in his way just might give him the opportunity to answer that question satisfactorily (a fascinating and tragic contradiction). Unfortunately, his decision to untether himself from specifically motivated vengeance leaves him on a fairly destructive and self-destructive path that he can only be wrested back from through human (and animal) connections. The story reminds us of our need for others in life, particularly in the hard times, to keep us from devolving into something worse – a plea for society, yes, but specifically good and supportive society as opposed to the toxic and parasitic one that John is seeking to break from.

                The action remains fairly creative in this one, with a few more faceless henchmen in the first few sequences than I’d usually care for, but that error is quickly alleviated with a solid heavy fight in the middle of things and a high-octane final sequence that ends with a brilliant bit of simple one-on-one combat, which might be my favorite of the series on gravity alone. Overall, I’m still inclined to give Chapter 2 the props for best top-to-bottom action, but the implications present in every scene of violence in Chapter 4 definitely help it make up a lot of ground. I should also point out that Donnie Yen is the best addition to the John Wick cast, and I don’t totally understand why it took so long to get him here. His scenes are arguably better than Keanu Reeves’s for most of the film, but it really peaks when the two of them are facing off or working together (it alternates from scene to scene).

                If you have loved the ride of the previous films in the saga, John Wick: Chapter 4 brings it all together for one last hurrah, sending the assassin off with its most weighty action sequences and plenty of closing thoughts on its world and story themes. In terms of pure action, it might not be the top one of the saga, but it carries plenty of energy to keep its fans happy. This film is currently available to see in theaters, and I encourage you to check it out if you can.

Weekend Watch - Chip ‘n Dale: Rescue Rangers

                Welcome back to the Weekend Watch where each week we take a look at a new piece of entertainment media and give a brief review and basic recommendation for watching or skipping that show or film. This week, the topic of conversation is the new Disney+ film Chip ‘n Dale: Rescue Rangers, featuring the voice talents of Andy Samberg, John Mulaney, Will Arnett, Eric Bana, and J.K. Simmons and the live action actress KiKi Layne, directed by Hot Rod and Pop Star: Never Stop Never Stopping director Akiva Schaffer.

Letter Grade: B; fun family movie with a little bit for everyone

Should you Watch This Film? If you have kids and Disney+, absolutely; if you are feeling nostalgic and have Disney+, probably so; if you want some less raunchy Lonely Island-esque humor, yes

Why?

                Chip ‘n Dale: Rescue Rangers is a film that definitely feels like it knows its place in the world of entertainment pretty dang well. It’s not looking to be some awards-bait pseudo-children’s movie, but it works well as an elevated family movie. Akiva Schaffer and Andy Samberg working together means the comedy levels are going to hit for adults, kids, and all people in between, a sure sign of a family film worth watching. The film’s premise is really fun, playing off of the groundwork of films like Who Framed Roger Rabbit? and Space Jam, creating a world where every piece of entertainment media is actually portrayed by a real person, cartoon, puppet, Claymation figure, etc. This world creates an abundance of references in every single shot to keep the adults happy. Some of the bits might be a little more meta than the film as a whole. For example, ugly Sonic (yes, from the OG Sonic the Hedgehog trailer) makes a cameo at the beginning of the film (voiced by Tim Robinson of I Think You Should Leave) but then ends up being an important side character for the film’s third act, and I’m not convinced that I wanted to see that much of the failed Sonic animation. Seth Rogen also voices/plays a henchperson animated in the “uncanny valley style” like Polar Express, which again works as a brief bit when first introduced but breaks down the more he appears on-screen. Each bit of comedy plays on a combination of nostalgia and irreverence that works well in parody but sometimes fails to connect with the wider story. The story is a basic Chip and Dale mystery with cartoon characters going missing and being made into bootleg versions of themselves – the bootleg bit is really well done throughout the film and is actually very funny. The mystery is complemented by a story of friendship and reconnection between the two titular characters, which again helps elevate the film beyond just an hour and a half episode of the 90s television show. Overall, the family aspects of Chip ‘n Dale: Rescue Rangers combined with the irreverent comedy of Schaffer and Samberg make it into a solid, if at times over-the-top, Disney outing for their growing streaming service.