Weekend Watch - Lisa Frankenstein

                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 Lisa Frankenstein, the high school romcom from screenwriter Diablo Cody (Juno and Jennifer’s Body) and rookie feature director Zelda Williams. The film stars Kathryn Newton as the titular Lisa, joined by Liza Soberano as her stepsister Taffy, Henry Eikenberry as her crush Michael Trent, Joey Harris as her nemesis Tamara, Bryce Romero as her lab partner Doug, Joe Chrest as her father Dale, Carla Gugino as her stepmom Janet, and Cole Sprouse as “the Creature”. The film follows Lisa as she navigates life at a new high school in her senior year, crushing on the literary magazine editor, convincing her stepmom that she’s not going insane, and keeping a resurrected bachelor from the 1800s hidden in her closet. It opened this weekend in theaters. Let’s get into it.

Letter Grade: B-; this film should probably be a C were it not for some truly excellent payoffs throughout the film and especially in its last act.

Should you Watch This Film? In theaters? Maybe. At some point? Definitely. It toys with the edges of what can and can’t be done in PG-13 from time to time, but aside from that, there’s definitely something here that needs to be seen by most audiences.

Why?

                Lisa Frankenstein brings to the screen an amalgamation of Napoleon Dynamite, Sixteen Candles, Young Frankenstein, and the color palette of the iconic school supplies that its title references, having been brought to life by a cast that has committed to the absurdity of its bits and a writer/director combo that are willing to take big swings with the aesthetics, humor, and audiences’ expectations. That ends up creating a mess of a film in quite a few spots with plot lines left less than fully resolved, some fairly obvious set pieces designed to give us some exposition, and plenty of character choices that don’t make sense in the real world, but hey, this is romcom horror, and those pieces work excellently. The homage to classic monster movies, the occasionally visceral violence, the will-they-won’t-they love “triangle” that Lisa unwittingly traps herself in, and the commitment to making jokes that are unabashed in their setup and delivery go a long way in turning what is objectively a bit of a mess into something that should become a cult classic like those films it digs up.

                The performers are the key to making this film’s craziness work, and the core group hold it together with some excellent commitments to the bit. Have we already seen Joe Chrest play the clueless 1980s dad for four seasons of Stranger Things? Yes, but he’s at it again here in a slightly more endearing version of that character, giving the film exactly what it needs in that role – a dupe whose cluelessness makes the rest of the plot work. Carla Gugino gets to play the fun role of evil stepmother and evil psych nurse rolled into one, and she plays her part to its most absurd and loathsome end. Liza Soberano takes her role of cheerleader turned final girl and does the most with it, playing both aspects well – preppy but lovable in the best way. Cole Sprouse gets to show off mostly his physical repertoire in this film, communicating through expressions, movements, and grunts for basically the entire runtime, and it’s nice to see how capable he is of still making a murderous zombie man into a viable love interest with just those parts available to him. Kathryn Newton is the make-or-break point of the film’s cast, though; portraying a lead that is equal parts goth, troubled poet, it girl and occasional mad scientist, she has to walk a fine line, for which she is fully up to the task. From singing 80s power ballads off-tune in her living room to flirting with her crush(es?) to struggling with the pressure of the increased scrutiny after various disappearances that may or may not be her fault she brings the audience in and turns her Frankenstein-esque character into a believable and, indeed, lovable romantic comedy lead.

                As I already mentioned, the story side of Cody’s script might not be the film’s strongest aspect, and in fact, it’s probably its weakest. At least one unresolved plot line, plenty of convenient ineptitude from authority figures, and a less-than-fully consistent use of a semi-magical tanning bed make for a story that requires its audience to look past its flaws to fully appreciate it. At the same time, though, Cody’s comedy comes through at just the right level throughout the film. Its combination of camp, feminism, and shock-value fits in perfectly with the film’s genres, and her ability to choreograph the set-up and delivery of the film’s jokes helps make up for the lack of delivery on some of the plot set-ups. It’s laugh-out-loud funny at some points, and there’s one scene in the film’s third act that had the whole audience laughing harder than I’ve heard in a theater since Bottoms last year. It’s nice to have a romantic comedy/horror that doesn’t feel like it has to be self-aware. It’s still referential to those films that came before it, but none of it feels self-effacing like so many romantic comedies have become. It’s genuine and committed to itself, which is really about all that you can ask for a film these days.

                With a committed cast, a solidly produced genre blend, and humor that seems to hit all the right notes, Lisa Frankenstein lets audiences look past a lot of its story flaws and plot holes to be an enjoyable watch just in time for Valentine’s Day. Is it the best rom-com or horror film in recent years? Not really. It does wear its heart on its sleeve, though, and refuses to be anything but itself, which should be enough to get some people out to see it this week.

Weekend Watch - Ant-Man and the Wasp: Quantumania

                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 Marvel’s latest film, Ant-Man and the Wasp: Quantumania. The film is the launch of Marvel’s Phase Five, introducing the new big-bad of the universe, Kang, to theatrical audiences after he received a soft-launch in the Loki series back in 2021. The film sees the return of Paul Rudd’s Scott Lang/Ant-Man alongside Evangeline Lilly’s Hope Van Dyne/Wasp, Michael Douglas’s Hank Pym, and Michelle Pfeiffer’s Janet Van Dyne. In addition to Jonathan Majors’s Kang the Conqueror, the film also introduces Kathryn Newton as the new actress for the now-teenage Cassie Lang and features cameos from Bill Murray, William Jackson Harper, and Corey Stoll. Let’s get into it.

Letter Grade: B; there’s no denying that the film has issues, but there’s a lot to enjoy here that makes it better than the current critic consensus.

Should you Watch This Film? If you enjoy the MCU or comic book films, this is a great watch for you. If you don’t like that type of film, there’s not enough here that will change your mind.

Why?

                Marvel’s introduction to Phase Five gives audiences a clear vision for the future of the franchise in the midst of a muddled story in the present, fitting for a film set predominantly in a region that exists outside of time and space. The film is unquestionably high on its new characters (the future of the franchise) with an excellent villain performance from Majors and one of the better “teen” outings in the franchise from Newton. Unfortunately, their performances and the rightly directed focus on Pfeiffer’s Janet can’t save the film entirely from the odd shift in direction for the Ant-Man films and a story shot full of holes.

                In terms of performances, Quantumania benefits from some of the best in recent MCU history with actors fully committed to their characters, even if their writing and story are imperfect. Rudd has truly come into his own as Lang and Ant-Man, making the character in his own image as a recognizably lovable celebrity who also happens to have saved the world a few years ago. He brings the same lightness to this film that we have become used to but also manages to rise to the physicality that this story requires with believable results. Michael Douglas is tasked with the role of comedic side character typically filled by Michael Peña in these films and actually does an admirable job. Is it as iconic or likeable as Peña’s Luis? Absolutely not, but Douglas manages to turn his supergenius into enough of a relief to keep the film moving. In my opinion, “the Wasp” referred to in this film’s title has to be Michelle Pfeiffer’s Janet Van Dyne because she has so much more to do than Evangeline Lilly in this film and carries that burden well. Having played a fairly minimal role in the last Ant-Man film, Pfeiffer comes to the front as the expert on the Quantum Realm and Kang, giving plenty of backstory and explanation even as she struggles to cope with the consequences of her past mistakes. It’s easy to see that she enjoys the role and is fully capable of carrying the yoke of secondary protagonist. Kathryn Newton takes her role as Cassie Lang head-on, again managing to turn the loss of a fan-favorite character into a net neutral (and perhaps even gain in this case) as she serves as the heroes’ moral compass for most of the film, reminding Scott of what heroes are supposed to do at every turn. Finally, Jonathan Majors goes to work as the new Big-Bad of the saga – Kang the Conqueror. He plays the character as this malevolent force, offering to save the multiverse no matter how many people and universes he has to destroy in the process. His writing is perhaps the strongest, and Majors takes advantage, delivering line after line of despotic dialogue with weight and excellence.

                All the strong performances can’t do enough to salvage Quantumania’s overly expository and underwhelming Star Wars-lite story. From the first scene in the Quantum Realm, the inspiration from Disney’s other major franchise becomes clear, complete with desert scavengers, a cantina, and an evil empire fighting against rebels. From there, the story takes too long to get where it wants to go (introducing Kang) in order to get a frankly underwhelming Bill Murray cameo into the start of the second act. Unfortunately, for all of Majors’s greatness as Kang, the film’s third act does him pretty dang dirty – having him lose in fairly embarrassing fashion multiple times. His performance does enough to keep me excited for his future in the MCU, but the contrivance for the heroes to win in this film makes me wary of future underutilization of the villain’s genius, charisma, and physicality. We’ll see.

                Great performances from most of its leads don’t fully salvage Quantumania’s mess of a script, resulting in a mixed bag in Marvel’s first Phase Five film. Its visuals and charismatic leads help keep it enjoyable enough to warrant watching in theaters, and I think it probably would be pretty solid in 3D if you want to pay extra for that. As it stands, it’s not the best that Marvel has ever put out. It’s not the worst, either, and I think that with Bob Iger back at Disney, they’ll be able to return their focus to producing quality over quantity again.