Shang-Chi and the Legend of the Ten Rings

After the creative and dramatic pothole that was Black Widow, Marvel returns to form with Shang-Chi and the Ten Rings.  Simun Liu stars as Shawn, a slacker (by choice) who spends his days as a valet with (platonic) best friend and fellow karaoke enthusiast Katy (Awkwafina).  The past Shawn ran away from tracks him down, resulting in a bus ride that would have made even Sandra Bullock nervous.  From there, Shawn reunites with the sister he abandoned, Xialing (Meng’er Zhang), and the father he ran away from, Wenwu (Tony Leung).  After spending years hiding from his past, Shawn is forced to accept who he is, as well as confront his father, who’s plans may put the entire world in danger.

Like most Marvel origin stories, Shang-Chi follows the template, down to the obligatory training sequences that confirm what we already know.  Fortunately, Shang-Chi colors outside the lines in ways that make this MCU entry exciting and engaging.  Most importantly, the movie takes its time and gives scenes (and the audience) a chance to breathe, letting us become immersed in its world before the fireworks arrive in the end.  The acting is exceptional all around, and supporting turns by Michelle Yeoh (as Shawn’s aunt) and Ben Kingsley (as misfit actor Trevor Slattery) add texture and humanity to the proceedings.  Shang-Chi leaves the funny business to Awkwafina, who’s career ascent has been nothing short of remarkable.  The special effects here are truly special, creating a sense of wonder instead of merely underpinning action sequences.  Highly recommended.

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Candyman (2021)

Candyman ignores the inferior sequels that preceded it and instead acts as a direct sequel to the 1992 movie of the same name.  As in the original, Candyman features a hook-wielding ghost who is brought to life by saying his name five times in a mirror. Director Nia DaCosta and producer Jordan Peele have upgraded the Candyman legend deftly for modern times, contextualizing his gruesome origin story as the starting point of decades of systemic racism and violence.  And instead of having the requisite white woman be the audience surrogate, two African American men take center stage.  The first is a young artist (Yahya Abdul-Mateen II) seeking inspiration from the notorious history of the now-gentrified Cabrini-Green projects.  The second is a middle-aged man (Colman Domingo) who never left, still seething from an unjust killing he witnessed as a child.  The end result is riveting, scary, insightful and moving.  The (white) victims are written a bit thinly, but turnabout is fair play, as they say.  Candyman is a horror movie by definition, but it has much more up its sleeve than shocks and gore.  Mind that ending–it’s not the triumph it appears to be.  Highly recommended.

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The Night House

The premise of The Night House, that suicide irreparably damages the lives of the survivors, is a compelling one for a horror movie.  For Rebecca Hall’s Beth, her husband’s death understandably leaves her an emotional wreck, unable to control her anger at work and her despair at home.  The night brings no solace, with Beth possibly being haunted by her husband’s ghost.  After an engaging first act, the movie shifts our attention to the mystery of Beth’s husband’s death and the secrets he kept from her.  Was he having an affair, or affairs?  Why was he reading books about the occult?  What do all those strange architecture diagrams mean?  One twist gives way to another, and then another, until the movie lays on a heavy dose of the supernatural in a strained attempt at tying everything up.  The final reveal is logical, but nagging questions remain unanswered.  Hall delivers a compelling and convincing portrayal throughout, possibly a career highlight.  David Bruckner’s naturalistic direction gives the movie a disarmingly creepy vibe, at least until the final confrontation.  Recommended.

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Free Guy

Free Guy is built on a great concept: Guy, a non-player character (or NPC) doesn’t realize he’s an NPC, or that he essentially lives in a video game world.  Guy’s lack of awareness in his Grand Theft Auto existence would have been funny on its own.  Ryan Reynolds trades in his passive-aggressive sarcasm for playful innocence, spinning comedic gold from Guy’s naivete.  As if that weren’t enough, Free Guy asks an intriguing question: what if an NPC became self-aware and fell in love with a player?  Filled with winning performances and a playful sense for anarchy not seen since the Looney Tunes, Free Guy is fun writ large.  Highly recommended.

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Pig

Pig may be about a man’s search for his stolen pig, but its much more than that.  The emotions evoked by Nicolas Cage are universal, and anyone who has lost a beloved pet would immediately sympathize with his plight.  Under the surface, Pig is a deft examination of tragedy and grief.  Robin, as portrayed by Cage, leaves his former life behind for a (nearly) solitary existence in the woods.  Unfortunately, humans are defined by our connections to others, and those connections are unpredictable.  Cage’s acting is some of the best he’s done in years and should be in the conversation for Best Actor.  Highly recommended.

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The Tomorrow War

The Tomorrow War is a variation on the much better Tom Cruise vehicle Edge of Tomorrow. Pratt plays, Dan, a high school biology teacher sent to battle aliens in the future. Those aliens are mean and nasty, but they are no match against Dan and his plucky family. Even though this movie is completely redundant, the movie is entertaining enough to justify a viewing, particularly if you already have Amazon Prime. (You’re already paying for it, so why not?) Chris Pratt acts convincingly, no matter what the movie throws at him, and proves himself a worthy heir to Bruce Willis. Recommended.

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Old

Old has a great opening act: a group of vacationers are taken to an exclusive beach. Once there, they age rapidly and cannot find a way to leave. The movie is undone by talky dialog and weak acting by the leads. The middle act gets weighed down by sappy sentimentality when it should have ratcheted the tension and the horror of the situation. The mystery is revealed in the end, and while it is intriguing, is loose in its reasoning and cannot erase what came before. A disappointment after the one-two punch of Split and Glass. Not recommended.

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Roadrunner: A Film About Anthony Bourdain

Anthony Bourdain epitomized the ethos of his rock-and-roll idols: live life as an adventure, and always tell it like it is.  An admitted former heroin addict in his teens, he was inspired to become a cook while working as a dishwasher.  Roadrunner chronicles Bourdain’s amazing life, which included several successful careers: cook, chef, best-selling author and Emmy-winning host of a popular television show.  Ultimately, Bourdain was a restless soul whose all-consuming quest for experience took him around the world, several times over.  Emotional commentary by family, friends and colleagues help us to understand who Bourdain was, beyond his television persona.  Roadrunner paints a stunning portrait of a larger-than-life person who was loved and appreciated by many, but for some reason never felt it or believed it.  Highly recommended.

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