As expected, ’X-Men: Apocalypse’ continues franchise with dazzling effects, impressive mutants
By Steve CrumMaybe it is the imposing villain who is reminiscent of a dozen mummy movies. Perhaps the team of mutant heroes, each possessing unique superpowers, is the reason. No doubt the combination of these factors makes the latest X-Men movie, X-Men: Apocalypse, so dazzling and, yes, elegant. There is indeed an elegance to the action in Marvel movies, particularly the X-Men series. The rival DC comic book heroes have yet to attain that quality, at least in motion pictures. I speak as a long time DC comic book fan.
That said, in this ninth movie of the X-Men franchise, there is not a whole lot of uniqueness. We know the main characters, including the actors who portray them. However, Oscar Isaac plays the super villain (a rather redundant phrase by now) impressively. The big bad guy this time around is a transplanted mutant born in the Egyptian days of yon, possessing telekinesis and telepathy as well as technopathy, super strength, and size control. Whew! Luckily, there are multiple X-Men to deal with the dual threats imposed on the modern world by En Sabah Nur aka Apocalypse. X-Men: Apocalypse is backstory #3 of the X-Men’s origin. That also means it is James McAvoy’s third time as the young Professor Charles Xavier, founder and leader of the mutant heroes. Like all X-Men stories in comic books or movies, mutants uneasily exist in a world dominated by fearful, suspicious, and too often prejudiced non-mutant, normal humans. So it is with X-Men: Apocalypse.
The good, bad and ugly in this installment include Raven/Mystique (Jennifer Lawrence), Hank McCoy/Beast (Nicholas Hoult), Moira MacTaggert (Rose Byrne, a CIA agent—not a mutant), Peter Maximoff/Quicksilver (Evan Peters), Scott Summers/Cyclops (Tye Sheridan), Ororo Munroe/Storm aka Famine (Alexandra Shipp), Psylocke/Pestilence (Olivia Munn), Jean Grey/Phoenix (Sophie Turner), Angel/Archangel (Ben Hardy), and Alex Summers/Havok (Lucas Till). Providing comedy relief is the intriguing, long-tailed Nightcrawler (Kodi Smit-McPhee). He is also my favorite mutant of them all. Talk about a layered personality.
Look quickly for one action-packed sequence with Wolverine (Hugh Jackman). His inclusion occurs supposedly before he was known to either the X-Men or the world. What a cameo! You can’t miss creator Stan Lee’s bit this time around (he’s in every Marvel movie somewhere), but this time he is seen with his real life wife, Joan.
Speaking of action, this flick is gorged with explosions, super villains clobbering super heroes, heroes pounding villains, and entire cities being demolished. It all makes for a fantasy-fun, if not deafening, two hours and 24 minutes.
As for the plot, which is reminiscent of several Mummy movies since Karloff’s in 1932, this mutant mummy type is buried alive in Egypt after he is betrayed by his worshippers, and entombed in suspended animation under his own pyramid. Centuries later, in 1983, he rises again to lead the new world and wreak havoc in the process. He soon encounters ultra-powered mutants to both fight and support his cause. One who sides with him is Erik Lehnsherr/Magneto, adeptly played by Michael Fassbender. So as not to give away too much of the plot, particularly how it all concludes, let us just say it is basically a huge pyramid scheme.
Forgive me for that one, director Bryan Singer and screen scribe Simon Kinberg.
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GRADE on an A-F Scale: B-
Disney’s revamped ‘Jungle Book’ is beautifully realized take of Kipling’s classic
By Steve CrumDirector-producer Jon Favreau has created a stunning retelling of Rudyard Kipling’s classic adventure tale, The Jungle Book. From seamless CGI effects to the impressive debut of 12 year-old New Yorker, Neel Sethi, the story has never been more captivating.
Favreau’s Jungle Book works as homage to Zoltan Korda’s 1942 film that starred Sabu, Disney’s near classic 1967 animated film, and to Kipling’s original 19th Century writings. In fact, The Jungle Book has been a sporadic Disney franchise since 1967 with two minor versions released in 1994 and 2003—one animated, and one live action. This 2016 version combines live action with computer animation.
It is savvy to speculate this take will be a huge box office hit with the family market. The Disney folks have already given Favreau the go-ahead for a sequel.
To justify all this praise, let us begin with a definitive narrative spoken by Ben Kingsley, who also voices a major character, the black panther Bagheera. Kingsley is among a brilliantly cast voice ensemble that includes Bill Murray as the bear Baloo; Idris Elba as the villainous Bengal Tiger Shere Khan; Lupita Nyong’o (Raksha, Mowgli’s surrogate wolf mom); Scarlett Johansson (the humongous python, Kaa); and Christopher Walken (King Louie, the ape leader). The animal characters are realistically animated. Mowgli is live action. 
For either the Kipling or classic Disney uninformed, the central character is Mowgli, a human rescued as a baby in the jungle by Bagheera and brought to a wolf pack to be raised by Akela. As he grows into adolescence, Mowgli is referenced as a “man-cub” by the animal kingdom. (For purposes of audience clarity, every creature speaks English.) When Shere Khan begins to threaten Mowgli’s life, Bagheera decides it is time to escort the man-cub to the safety of his fellow humans, and away from his adopted wolf family. Along the way there are constant threats by the bloodthirsty tiger.
During the trek, Mowgli encounters new animal friends…and enemies. The good guys include Baloo, an easy going bear who saves Mowgli from being killed by the large python Kaa. Then there is a monkey sequence featuring the Kong-sized ape, King Louie.
Parents, be aware that this PG-rated Jungle Book has violent moments too intense for very young children. Just think of the violence in The Lion King intensified. This is particularly true in sequences with the tiger, snake, and great ape. That said, those same elements help make The Jungle Book so exciting and memorable for older kids and adults.
Whereas the 1967 Jungle Book is described as a musical-comedy, Favreau has chosen to interpolate the songs from the original—but in comparatively subtle ways, creating a hybrid best described as dramatic adventure with songs and comedy added. For example, Bill Murray warbles a very toned down version of the Sherman brothers’ “Bare Necessities” while Baloo floats on his back down the river with Mowgli sitting atop his stomach. Choreography be gone. Scarlett Johansson’s snake vamps the lyrics to “Trust in Me,” and Christopher Walken’s ape sounds like a creepy monster talk-singing newly added lyrics to “I Wan’na Be Like You.” Louis Prima he is not, but that is totally OK. It works. By the way, the closing credit roll is worth staying to see since it features some clever animation.
There is also a poignant tag at the very end, dedicated to the recently deceased Garry Shandling, who voiced the cute porcupine Ikki. Shandling was a class act worthy of inclusion in this fine motion picture. ——————————
GRADE on an A-F Scale: A
“Batman v Superman: Dawn of Justice” = spectacular effects, yes; classic superhero movie, no
By Steve CrumTeaming up fictional heroes has always held fascination and excitement for me, beginning in the 1950’s with childhood movie cowboy stars (The Range Busters) and comic book superheroes like the Justice League of America. Always a devoted DC Comics nerd, I loved it when Superman and Batman teamed in their World’s Finest comic book series. Great Krypton, it has now—finally—happened on the big screen with Batman v Superman: Dawn of Justice. I’m happy about the team-up concept, but not so with the end result.
Batman v Superman: Dawn of Justice severely trashes the original concept of both characters, particularly Superman, and ends up as a whole lot of bells and whistles. LOUD bells and whistles. This is not to say the two characters have not already been tweaked in movies, TV, radio and comic books since their 1930’s comic book origins. (Superman premiered in 1938, and Batman in 1939.) That includes costuming, a redesigned Batmobile, and a smugness about the business of law enforcement. The Caped Crusader really turned ominous with Christopher Nolan’s three Dark Knight Batman films, beginning in 2005.
In this current take, Superman has become a humorless bastion of strong arm police work—even labeled a terrorist by many in the media and public. At the same time, Batman is beset with nightmarish flashbacks about his parents’ murders. His ongoing paranoia falls to a new level when he swallows media hype in believing Superman is indeed a threat to world peace.
Batman himself is still the same reliable protector of truth and justice, except now he finishes off murdered bad guys by literally branding them on their necks with his Batman symbol. There is a high murder count in Batman v Superman, making it seem more like a high tech video game. Add spectacular CGI effects, and by golly this IS a big budgeted kill or be killed video game.
Ben Affleck is perfectly cast for a Batman/Bruce Wayne of this unsmiling and stoic nature since he already fits the mold, based on many of the movie characters he has portrayed. Adding Henry Cavill’s similarly stiff acting as Superman (originally playing him in 2013’s disappointing Man of Steel) gives the audience two robotic actors in superhero costumes that appear to be made of Goodyear rubber. 
Director-producer Zack Snyder is the DC superhero golden boy responsible for any kisses and hisses B v S will garner. Evidently Man of Steel box office was great enough for him to continue with another Superman saga. He is already in pre-production with next year’s Justice League: Part One, which will combine a Gold’s Gym of superheroes. Wonder Woman (Gal Gadot) has a major sequence in Batman v Superman: Dawn of Justice, and we glimpse Aquaman, Flash and Cyborg. These super beings will be better showcased, in addition to Superman, Batman and Wonder Woman, in 2017’s franchise installment. 
The running time of Batman v Superman: Dawn of Justice is a grueling 152 minutes. With most of the screen time devoted to Batman and Superman clobbering each other as well as the humongous creature called Doomsday, there is scant time to showcase the many fine actors who have been given seemingly key parts with little to say or do. Still, let us give them credit for their near cameos: Amy Adams as Lois Lane, Diane Lane (Martha Kent, Superman’s earth Ma), Laurence Fishbone (Perry White), and Holly Hunter as Senator Finch. Look for true cameos by real people playing themselves: Sen. Patrick Leahy, Charlie Rose, Neil deGrasse Tyson, Anderson Cooper, and others. 
Oh yes, there is a brief scene featuring Kevin Costner as Clark Kent’s earth father. True, he died in Man of Steel, so…well, you’ll figure it out.
As a positive, Jesse Eisenberg tears up the scenery with his take on the vicious Lex Luthor. Jeremy Irons’ Alfred (Bruce Wayne/Batman’s loyal butler) is a unique interpretation of that well known character. Hans Zimmer and Junkie XL’s bizarre score is a borderline plus. After 2-1/2 hours of sitting through relentless CGI violent visuals and deafening sound effects, I was exhausted. Recuperation should end just as next year’s Justice League movie opens.
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GRADE on an A-F Scale: C-
Hilarious ‘Hail, Caesar!’ requires multiple viewings to appreciate myriad jokes
By Steve CrumWithout divulging the central surprise plot element of Hail, Caesar!, let’s just say the brothers Coen have here given a hilarious send-up to a certain post-WWII conspiracy theory that was widely accepted and acted upon in the late 1940’s and early ‘50s. That sad state of affairs is presented with over-the-top parody in this comedic gem.
Joel and Ethan Coen, sharing honors in the writing, directing, producing and editing, have created a kind of Mad, Mad, Mad, Mad World of 2016 about political and showbiz events of 1951. Although I loved all the funny, snarky Hollywood references, Hail, Caesar! includes a plethora of inside jokes. For example, movie executives at Capitol Pictures have a designated room for formal discussions, called The Wallace Beery Meeting Room. If you don’t catch the humor in that very title, you are missing the satirical point. Therefore, general public be aware. The Coens are shooting high, maybe over your heads.
The bottom line premise involves Josh Brolin, well cast as studio “fixer” Eddie Mannix, whose job (“Head of Physical Production”) is to keep account of the studio’s actors as well as other production elements. An opening scene shows Mannix tracking down and rescuing a studio actress from what could have been a morality violation resulting in bad publicity. Of course, the studio would not have any of that. Mannix takes his work very seriously, which makes his very deadpan being even more hilarious. 
When star Baird Whitlock (George Clooney) is kidnapped between takes during a filming of a Biblical epic (Whitlock is a Roman officer), Mannix is once again on the trail. Make no mistake, his Mannix name clearly references the real life Eddie Mannix, who was also a studio “fixer.” 
Ethan and Joel Coen confer during filming Hail, Caesar!
While the hunt goes on for one of the studio’s top stars, we glimpse other stars on set during various productions. The coolness of Hail, Caesar! is that major stars have been cast as major stars. Even though the names have been changed, it is clear who is being parodied. For example, Clooney’s Whitlock is supposed to be Kirk Douglas in a Spartacus-like movie. Alden Ehrenreich is Hobie Doyle, a Gene Autry type in B-westerns the studio is trying to elevate to dramatic actor. Ehrenreich is superb…and funny.
Also amusing are Ralph Fiennes as Hobie Doyle’s exasperated director, Laurence Laurentz, Scarlett Johansson’s DeeAnna Moran (an Esther Williams type), and Tilda Swinton. Swinton plays twin sisters who are opposing gossip columnists. Think Hedda Hopper and Louella Parsons. The latter two were not related, but made livings as sisters of seamy scandal.
Then there is THE highlight of Hail, Caesar!, featuring Channing Tatum, of all people. In a take on Gene Kelly singing and dancing in On the Town or Anchors Aweigh, Tatum’s Burt Gurney sings and acrobatically dances with a group of fellow sailors to the lively Carter Burwell tune, “No Dames.” That the sequence escalates to, well, flamboyance makes it even funnier.
Incidentally, there are enough references to assume MGM is the basis for Capitol Pictures.
The Coens have laced Hail, Caesar! with enough visuals and double entendres that beg for multiple viewings to appreciate them all. Look for Dolph Lundgren as a submarine commander; overhead swim shots straight out of Busby Berkeley; Veronica Osorio suggesting Carmen Miranda; and the seldom seen lately Christopher Lambert. Frances McDormand has a choice slapstick bit as a cigarette smoking film editor. As a topper, Michael Gambon narrates this Coen opus. It is time to see Hail, Caesar! again.
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GRADE on an A-F Scale: A-
Adult cartoon ‘Anomalisa’ is typically insightful, bizarre Charlie Kaufman
By Steve CrumThose familiar with the films of Charlie Kaufman will expect some strange goings-on in his latest picture, an odd gem via puppet animation called Anomalisa. It’s worth watching. In fact, its bizarreness will grab from the get-go. This does not mean you will grasp any or all of its meaning or purpose when the 90 minute running time concludes.
Ready yourself for filmed eccentricity, ladies and gentlemen.
Before delving into Anomalisa (a created word used by the main character), realize that Kaufman has written only a smattering of theatrical motion pictures: Being John Malkovich; Synecdoche, New York; Eternal Sunshine of the Spotless Mind; Confessions of a Dangerous Mind; Human Nature; and this new one. Anomalisa and Synecdoche, New York are his only feature film—director works.
Kaufman himself labels Anomalisa as “existential”—an apt description befitting previous films. His TV-movie, How and Why, involves the discovery of a portal to a supernatural world. In Being John Malkovich, a group of miniaturized humans take advantage of a portal into the brain of actor Malkovich…and literally venture inside and out.
In the very adult themed, romantic comedy-drama Anomalisa, Kaufman’s first animated film (co-directed by Duke Johnson), a self-help writer named Michael Stone (voiced by David Thewlis) checks into a Cincinnati hotel one weekend to attend a conference of telemarketers. He is to be the main speaker, while at the same time promoting his book, “How May I Help You Help Them?”, aimed at an audience of phone sales people. We soon learn Michael has true fans among the telemarketers, including two ladies sharing a room right down the hall.
A technician adjusts the two primary puppets that serve as Michael and Lisa. Note the stabilizing clamps as the puppets are very slightly moved for the stop motion camera.
Once Michael is situated in his room, his loneliness and insecurity prompt a call to an old flame living nearby. Without getting into specifics, the two meet in the hotel bar only to realize why they previously broke up. Michael suffers even more. He should be rehearsing his speech for the next day, but matters of the heart and hormones dominate his thoughts and actions. Director-writer Kaufman takes us along on Michael’s journey of self satisfaction, from pondering his image in the bathroom mirror to shopping for an adult sex toy in a downtown store. He even hooks up with one of his fans, Lisa, voiced by Jennifer Jason Leigh. In addition, Michael has nightmarish fantasies.
Kaufman has said that with Anomalisa he aimed to make us forget we are watching an animated film and accept the characters as real. He succeeds, sure enough, except when he reminds us we ARE watching stop-motion puppetry. For sure, these puppets resemble humans, but their clearly hinged bodies are obviously robotic. A favorite scene: Michael’s lower face unhinges and falls to the floor. He merely picks it up and reattaches it.
Now that is surreal, very symbolic, and wickedly funny.
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GRADE on an A-F Scale: A-