July 2019
Crawl (R)
29/07/19 22:52 Filed in: 2019
Directed by: Alexandre Aja
Starring: Kaya Scodelario
July 2019
Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater @BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!
Fact: basements are very rare in Florida since most of the state is at or below sea level.
But why should facts ruin all the fun that can be had when alligators hunt people in the basement of their Florida home during a hurricane? Even though that scenario may sound completely outlandish, the new creature feature/disaster movie mash-up Crawl allegedly was inspired by similar happenings during Hurricane Florence in 2018.
The movie opens with Haley Keller (Kaya Scodelario) competing in a swim meet as storm clouds loom in the distance (in a prescient gag, her team’s mascot is the Gators). Haley becomes concerned when the storm is upgraded to a hurricane and her father, Dave Keller (Barry Pepper), isn’t answering his phone.
Driving into the storm, Haley defies an evacuation order and pushes through the flood waters to her childhood home. Entering the house, Haley calls out for her dad, but all she hears is pounding rain and wind-blown debris crashing into the house. The search for her father eventually leads Haley to the basement, and anyone who’s seen this movie’s trailer, or any other creature thriller, can pretty much guess what happens from there.
Crawl is one of those movies that only works after you’ve suspended your disbelief. Failing to do so will leave you out in the rain (sorry, #HurricaneHumor).
The story by Michael and Shawn Rasmussen starts off on solid ground, but, like the costal Florida location featured in the movie (which was actually filmed in Belgrade, Serbia), quickly bogs down once the rain starts falling and the flood waters start rising. Whether due to the unreality of the situation or the shoddy CGI, the movie loses much of its credibility when the first gator appears. From that point on, the story gets more and more ridiculous—the Rasmussen’s stretch the thin premise for all it’s worth.
Embracing the tropes of scads of horror movies, Crawl is brimming with inadvisable decisions that place characters in perilous situations…just to create a scare. The movie employs a series of contrivances to move the story along, like: well-placed pipes that protect characters from the gaping jaws of ferocious gators or a gator stepping on and breaking a cell phone before a 9-1-1 call can be placed.
Nitpicks abound in the film as well, like how can someone fire a gun when their arm is being chewed off by an alligator? For that fact, how many times can people be bitten by a gator before they pass out from blood loss and shock (Dave is bitten twice and Haley is bitten three times, yet somehow both are able to keep going)?
There’s a random sequence near the middle of the movie that shifts the focus from Haley and Dave to three foul-mouthed looters, who hoist a convenience store ATM machine into their boat. Though mildly reminiscent of the extreme weather pilfering in The Hurricane Heist (2018), this scene is really just filler since it doesn’t advance the story in any significant way, aside from showcasing more gratuitous carnage. This is just another indication that, when it comes to plot, the Rasmussen’s script has no teeth.
Director Alaxandre Aja, who’s no stranger to creature flicks (Piranha 3D), establishes a strong sense of place and creates a foreboding atmosphere throughout the film. There are some gorgeous shots in the movie, like the skin-crawling scene where alligators swim right past our heroes in the muddy water.
Aja’s character scenes are taut and his action sequences are frenetic without being jarring. And, to his credit, Aja only employs a few jump scares, which have become a staple of horror movies. Though most of Aja’s directorial choices are appropriate, the scene where he frames a close-up of an alligator’s eye is needlessly gimmicky.
As can be guessed from its R rating, Crawl has an excessive amount of swearing, violence and disturbing images. The film features several fierce alligator assaults, most of which result in gory tableaus. Several minutes of the film are dedicated to characters binding up their wounds after these melees, and some of the visuals are downright stomach-turning.
Though the film is dominated by pulse-pounding creature attacks, a few meaningful moments can be detected while sifting through the narrative flotsam. Near the beginning of the movie, Haley is confronted with a moral dilemma: should she leave the area, as ordered by the authorities, or rebel against the evacuation order and attempt to rescue her father? Are there special situations where disobeying an order is permitted, or is that simply “the end justifies the means” mentality? It’s a compelling question that isn’t sufficiently answered by a movie preoccupied with less weighty, more pressing concerns…like survival.
Long before the hurricane arrived, the Keller home was devastated by a different kind of tragedy…divorce. Haley was never close to her dad, and the divorce exacerbated the rift in their relationship. Being trapped in the dank crawlspace forces Haley and Dave to confront their issues and reconcile their differences.
In addition to their physical wounds, the Keller’s are both nursing emotional wounds. In the “memory lane” scene, Dave blames himself for the divorce and says he doesn’t deserve a second chance. Haley has inner conflicts of her own. She’s trying to outrun (or outswim) the expectations her dad has placed on her, as well as those she’s placed on herself.
These few scenes confirm that the movie has more nuance than what’s visible on the surface. You might say its significance creeps up on you.
Though Crawl aspires to be a top-tier thrill ride, it ends up succumbing to the abject silliness typically found in B movies. Despite its unsavory language and grisly story elements, the film delivers exactly what it promises: a suspenseful action yarn with a few good scares. Also in its favor is that, at an hour and twenty-seven minutes, it doesn’t overstay its welcome.
Ironically, the film has stumbled into some real-world relevance. At the time of its release, Tropical Storm Barry (which threatens to become a hurricane) is bearing down on Louisiana. Since there’s no way anyone at Paramount could’ve known about Barry when the movie started production, consider its timing an unhappy coincidence.
Rating: 2 out of 4
Starring: Kaya Scodelario
July 2019
Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater @BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!
Fact: basements are very rare in Florida since most of the state is at or below sea level.
But why should facts ruin all the fun that can be had when alligators hunt people in the basement of their Florida home during a hurricane? Even though that scenario may sound completely outlandish, the new creature feature/disaster movie mash-up Crawl allegedly was inspired by similar happenings during Hurricane Florence in 2018.
The movie opens with Haley Keller (Kaya Scodelario) competing in a swim meet as storm clouds loom in the distance (in a prescient gag, her team’s mascot is the Gators). Haley becomes concerned when the storm is upgraded to a hurricane and her father, Dave Keller (Barry Pepper), isn’t answering his phone.
Driving into the storm, Haley defies an evacuation order and pushes through the flood waters to her childhood home. Entering the house, Haley calls out for her dad, but all she hears is pounding rain and wind-blown debris crashing into the house. The search for her father eventually leads Haley to the basement, and anyone who’s seen this movie’s trailer, or any other creature thriller, can pretty much guess what happens from there.
Crawl is one of those movies that only works after you’ve suspended your disbelief. Failing to do so will leave you out in the rain (sorry, #HurricaneHumor).
The story by Michael and Shawn Rasmussen starts off on solid ground, but, like the costal Florida location featured in the movie (which was actually filmed in Belgrade, Serbia), quickly bogs down once the rain starts falling and the flood waters start rising. Whether due to the unreality of the situation or the shoddy CGI, the movie loses much of its credibility when the first gator appears. From that point on, the story gets more and more ridiculous—the Rasmussen’s stretch the thin premise for all it’s worth.
Embracing the tropes of scads of horror movies, Crawl is brimming with inadvisable decisions that place characters in perilous situations…just to create a scare. The movie employs a series of contrivances to move the story along, like: well-placed pipes that protect characters from the gaping jaws of ferocious gators or a gator stepping on and breaking a cell phone before a 9-1-1 call can be placed.
Nitpicks abound in the film as well, like how can someone fire a gun when their arm is being chewed off by an alligator? For that fact, how many times can people be bitten by a gator before they pass out from blood loss and shock (Dave is bitten twice and Haley is bitten three times, yet somehow both are able to keep going)?
There’s a random sequence near the middle of the movie that shifts the focus from Haley and Dave to three foul-mouthed looters, who hoist a convenience store ATM machine into their boat. Though mildly reminiscent of the extreme weather pilfering in The Hurricane Heist (2018), this scene is really just filler since it doesn’t advance the story in any significant way, aside from showcasing more gratuitous carnage. This is just another indication that, when it comes to plot, the Rasmussen’s script has no teeth.
Director Alaxandre Aja, who’s no stranger to creature flicks (Piranha 3D), establishes a strong sense of place and creates a foreboding atmosphere throughout the film. There are some gorgeous shots in the movie, like the skin-crawling scene where alligators swim right past our heroes in the muddy water.
Aja’s character scenes are taut and his action sequences are frenetic without being jarring. And, to his credit, Aja only employs a few jump scares, which have become a staple of horror movies. Though most of Aja’s directorial choices are appropriate, the scene where he frames a close-up of an alligator’s eye is needlessly gimmicky.
As can be guessed from its R rating, Crawl has an excessive amount of swearing, violence and disturbing images. The film features several fierce alligator assaults, most of which result in gory tableaus. Several minutes of the film are dedicated to characters binding up their wounds after these melees, and some of the visuals are downright stomach-turning.
Though the film is dominated by pulse-pounding creature attacks, a few meaningful moments can be detected while sifting through the narrative flotsam. Near the beginning of the movie, Haley is confronted with a moral dilemma: should she leave the area, as ordered by the authorities, or rebel against the evacuation order and attempt to rescue her father? Are there special situations where disobeying an order is permitted, or is that simply “the end justifies the means” mentality? It’s a compelling question that isn’t sufficiently answered by a movie preoccupied with less weighty, more pressing concerns…like survival.
Long before the hurricane arrived, the Keller home was devastated by a different kind of tragedy…divorce. Haley was never close to her dad, and the divorce exacerbated the rift in their relationship. Being trapped in the dank crawlspace forces Haley and Dave to confront their issues and reconcile their differences.
In addition to their physical wounds, the Keller’s are both nursing emotional wounds. In the “memory lane” scene, Dave blames himself for the divorce and says he doesn’t deserve a second chance. Haley has inner conflicts of her own. She’s trying to outrun (or outswim) the expectations her dad has placed on her, as well as those she’s placed on herself.
These few scenes confirm that the movie has more nuance than what’s visible on the surface. You might say its significance creeps up on you.
Though Crawl aspires to be a top-tier thrill ride, it ends up succumbing to the abject silliness typically found in B movies. Despite its unsavory language and grisly story elements, the film delivers exactly what it promises: a suspenseful action yarn with a few good scares. Also in its favor is that, at an hour and twenty-seven minutes, it doesn’t overstay its welcome.
Ironically, the film has stumbled into some real-world relevance. At the time of its release, Tropical Storm Barry (which threatens to become a hurricane) is bearing down on Louisiana. Since there’s no way anyone at Paramount could’ve known about Barry when the movie started production, consider its timing an unhappy coincidence.
Rating: 2 out of 4
Spider-Man: Far From Home (PG-13)
25/07/19 22:01 Filed in: 2019
Directed by: Jon Watts
Starring: Tom Holland
July 2019
Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater @BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!
If you’ll forgive the pun, there’s a stark tonal shift between Spider-Man: Far From Home and the previous Marvel film, Avengers: Endgame. Endgame was the conclusion of an epic storyline told on a grand scale where the stakes were literally earth-shatteringly high. Here, we have a leisurely-paced, pedestrian story that’s filled with lightweight action scenes—even when characters are placed in harm’s way, the peril just doesn’t seem real. Perhaps the fact that much of the film’s action is illusory adds to its narrative ennui.
The story’s underachievement may be due to the fact that it takes a long time to get going, and that it never goes anywhere when if finally does. Or maybe it’s because Spider-Man doesn’t do anything all that spectacular or amazing in the movie. Or maybe it’s because we really can’t take the film seriously because of its schmaltzy dialog and gooey teen angst. In fact, aside from its postcard-perfect European locations, there’s very little to recommend the film.
Tom Holland may be the best Peter Parker/Spider-Man yet, but his gee-whiz shtick is already getting old. And speaking of shtick, Samuel L. Jackson has played Nick Fury for so long now the character has become a caricature. This brand of cartoony acting afflicts the entire cast; including Marisa Tomei as Aunt May and Jon Favreau as Happy Hogan (the relationship between these characters is painfully awkward).
Perhaps the worst acting in the film is Jake Gyllenhaal’s histrionic portrayal of Quentin Beck/Mysterio. Gyllenhaal’s Mysterio has none of the gravitas or menace of Michael Keaton’s Vulture from Spider-Man: Homecoming. But to be fair, I don’t even think the inestimable Keaton could’ve pulled off such a two-dimensional heavy as globe-domed Mysterio.
One thing the movie gets right is how it shows what life is like after the “blip” that occurred in Endgame. Though characters seem sad over the loss of Tony Stark/Iron Man (Robert Downey Jr.), they’re never given enough time to adequately process that loss since the movie never slows down long enough to deal with any genuine emotions.
In the end, SM: FFH is a flaccid sequel that suffers from horrendous scripting and surprisingly substandard acting. It’s ironic that a movie so focused on the dangers of illusions should contain so many story elements that are shallow and implausible.
The end credits clips are the best part of the movie, so be sure to stick around to the very end.
Rating: 2 out of 4
Starring: Tom Holland
July 2019
Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater @BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!
If you’ll forgive the pun, there’s a stark tonal shift between Spider-Man: Far From Home and the previous Marvel film, Avengers: Endgame. Endgame was the conclusion of an epic storyline told on a grand scale where the stakes were literally earth-shatteringly high. Here, we have a leisurely-paced, pedestrian story that’s filled with lightweight action scenes—even when characters are placed in harm’s way, the peril just doesn’t seem real. Perhaps the fact that much of the film’s action is illusory adds to its narrative ennui.
The story’s underachievement may be due to the fact that it takes a long time to get going, and that it never goes anywhere when if finally does. Or maybe it’s because Spider-Man doesn’t do anything all that spectacular or amazing in the movie. Or maybe it’s because we really can’t take the film seriously because of its schmaltzy dialog and gooey teen angst. In fact, aside from its postcard-perfect European locations, there’s very little to recommend the film.
Tom Holland may be the best Peter Parker/Spider-Man yet, but his gee-whiz shtick is already getting old. And speaking of shtick, Samuel L. Jackson has played Nick Fury for so long now the character has become a caricature. This brand of cartoony acting afflicts the entire cast; including Marisa Tomei as Aunt May and Jon Favreau as Happy Hogan (the relationship between these characters is painfully awkward).
Perhaps the worst acting in the film is Jake Gyllenhaal’s histrionic portrayal of Quentin Beck/Mysterio. Gyllenhaal’s Mysterio has none of the gravitas or menace of Michael Keaton’s Vulture from Spider-Man: Homecoming. But to be fair, I don’t even think the inestimable Keaton could’ve pulled off such a two-dimensional heavy as globe-domed Mysterio.
One thing the movie gets right is how it shows what life is like after the “blip” that occurred in Endgame. Though characters seem sad over the loss of Tony Stark/Iron Man (Robert Downey Jr.), they’re never given enough time to adequately process that loss since the movie never slows down long enough to deal with any genuine emotions.
In the end, SM: FFH is a flaccid sequel that suffers from horrendous scripting and surprisingly substandard acting. It’s ironic that a movie so focused on the dangers of illusions should contain so many story elements that are shallow and implausible.
The end credits clips are the best part of the movie, so be sure to stick around to the very end.
Rating: 2 out of 4
Toy Story 4 (G)
24/07/19 22:01 Filed in: 2019
Directed by: Josh Cooley
Starring: Tom Hanks
June 2019
Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater @BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!
Toy Story 4 ends the long string of Disney/Pixar films that have opened with an adorable, often Academy Award-winning, animated short. Unfortunately, this sour note sets the tone even before the movie begins.
From the outset, TS4 feels like it’s desperately trying to recapture the magic of the earlier films in the series. It spends the first ten minutes recalling a rainy-night misadventure that took place nine years earlier, when Woody (Tom Hanks) was still Andy’s favorite toy. Eventually, the story brings us back to the present, when Bonnie (Madeleine McGraw) plays with Jessie (Joan Cusack), but leaves the stalwart sheriff in the closet.
In search of something to move the story along, the writers decide to take us to kindergarten orientation day. The only bright spot in Bonnie’s awkward, disappointing day is during crafts period when she cobbles together bits of trash to create Forky (Tony Hale). Serving as a type of security blanket, Forky becomes the center of Bonnie’s world, much to the dismay of the other toys, particularly increasingly irrelevant Woody.
When the story hits another lull, Bonnie’s family decides to take a road trip—one last hurrah before the school year begins. It isn’t until the family pulls over at a RV park to take a rest that some semblance of a plot finally coalesces. In rapid succession, Woody encounters an old friend and a new nemesis, and we’re off on another wild romp in the wonderful world of toys.
If that synopsis sounds paint-by-numbers, it’s because the movie’s plot is too. Though it’s sad to say, the franchise has finally experienced fatigue with this fourth film.
The story has some salience, though. Aside from showing the difficulties of a child adjusting to school (a major plot point of Inside Out), the movie has many themes including: you can’t grow by standing still, loyalty can be a crutch, friends sacrifice for each other, trash can have value and nothing is nobler for a toy than being there for a child and belonging to a child.
One element present in every Pixar film is nostalgia. Here, Woody can’t move on with his life because he’s tied to the past…the good ole days in Andy’s room. The antique store is a locus of nostalgia since it’s brimming with novelties and collectibles from bygone eras. Audience members of all ages may also experience nostalgia every time they see a Toy Story character or movie. In fact, many parents taking their kids to this movie were kids themselves back in 1995, when the first film was released.
Though most of the original characters are sidelined here—surprisingly, even Buzz Lightyear (Tim Allen)—several new characters add color and humor to the movie, including: Ducky (Keegan-Michael Key), Bunny (Jordan Peele), Gabby Gabby (Christina Hendricks), Giggle McDimples (Ally Maki) and Evel Knievel knockoff, Duke Caboom (Keanu Reeves).
In the final analysis, TS4 is a mild disappointment. Though arguably the nadir of the series, it’s still a charming tale of courage, loyalty and belonging that’s a cut above the typical animated feature. The movie boasts some frenetic and fun-filled action sequences and a handful of magical moments, like the ending scene at the carnival. Be sure to stay through the end credits to see a clever twist on the Pixar intro.
Rating: 3 out of 4
Starring: Tom Hanks
June 2019
Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater @BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!
Toy Story 4 ends the long string of Disney/Pixar films that have opened with an adorable, often Academy Award-winning, animated short. Unfortunately, this sour note sets the tone even before the movie begins.
From the outset, TS4 feels like it’s desperately trying to recapture the magic of the earlier films in the series. It spends the first ten minutes recalling a rainy-night misadventure that took place nine years earlier, when Woody (Tom Hanks) was still Andy’s favorite toy. Eventually, the story brings us back to the present, when Bonnie (Madeleine McGraw) plays with Jessie (Joan Cusack), but leaves the stalwart sheriff in the closet.
In search of something to move the story along, the writers decide to take us to kindergarten orientation day. The only bright spot in Bonnie’s awkward, disappointing day is during crafts period when she cobbles together bits of trash to create Forky (Tony Hale). Serving as a type of security blanket, Forky becomes the center of Bonnie’s world, much to the dismay of the other toys, particularly increasingly irrelevant Woody.
When the story hits another lull, Bonnie’s family decides to take a road trip—one last hurrah before the school year begins. It isn’t until the family pulls over at a RV park to take a rest that some semblance of a plot finally coalesces. In rapid succession, Woody encounters an old friend and a new nemesis, and we’re off on another wild romp in the wonderful world of toys.
If that synopsis sounds paint-by-numbers, it’s because the movie’s plot is too. Though it’s sad to say, the franchise has finally experienced fatigue with this fourth film.
The story has some salience, though. Aside from showing the difficulties of a child adjusting to school (a major plot point of Inside Out), the movie has many themes including: you can’t grow by standing still, loyalty can be a crutch, friends sacrifice for each other, trash can have value and nothing is nobler for a toy than being there for a child and belonging to a child.
One element present in every Pixar film is nostalgia. Here, Woody can’t move on with his life because he’s tied to the past…the good ole days in Andy’s room. The antique store is a locus of nostalgia since it’s brimming with novelties and collectibles from bygone eras. Audience members of all ages may also experience nostalgia every time they see a Toy Story character or movie. In fact, many parents taking their kids to this movie were kids themselves back in 1995, when the first film was released.
Though most of the original characters are sidelined here—surprisingly, even Buzz Lightyear (Tim Allen)—several new characters add color and humor to the movie, including: Ducky (Keegan-Michael Key), Bunny (Jordan Peele), Gabby Gabby (Christina Hendricks), Giggle McDimples (Ally Maki) and Evel Knievel knockoff, Duke Caboom (Keanu Reeves).
In the final analysis, TS4 is a mild disappointment. Though arguably the nadir of the series, it’s still a charming tale of courage, loyalty and belonging that’s a cut above the typical animated feature. The movie boasts some frenetic and fun-filled action sequences and a handful of magical moments, like the ending scene at the carnival. Be sure to stay through the end credits to see a clever twist on the Pixar intro.
Rating: 3 out of 4