Directors: Bob Persichetti, Peter Ramsey, Rodney Rothman
By Alex Watson
Spiderman has gone through multiple facelifts since Sam Raimi first thrust the web-slinger onto our screens in 2002. Spiderman: Into the Spiderverse might just be the boldest and best outing yet for this franchise. Giving not one but five different origin stories, this movie is able to successfully juggle these numerous characters often to hilarious effect. The animation here on another level and the effect is jaw-dropping, the Marvel universe has a fascinating new ace up its sleeve or Spidey suit in this case!
In another dimension of the Spiderman universe, Miles Morales (Shameik Moore) is a high school kid who is bitten by radioactive spider. Attempting to embrace his destiny as the Spiderman, Miles' life is further complicated after the villain Kingpin (Liev Schreiber) opens multiple dimension. Soon our hero comes into contact with a down on his luck Peter Parker (Jake Johnson) and several other versions of the famed hero.
So often superhero films struggle to manage multiple heroes and villains, this is definitely not the case in Spiderman: Into the Spiderverse. The movie plays it smart by focusing primarily on Miles because a character he's impressively layered. A graffiti and hip-hop loving young boy from the block thrust into a fancy prep school who has a dysfunctional relationship with his overbearing cop father (Brian Tyree Henry) and is in awe of cool uncle Aaron (Mahershala Ali), Miles is a hero who is relatable on many levels. His early missteps and freakouts regarding his newly attained powers are played for laughs expertly, such as when he gives fellow student Gwen Stacey (Hailee Steinfeld) an unfortunate new haircut.
Directors Persichetti, Ramsey and Rothman wisely opt to flip this origin story on its head by showing us a far different and less appealing side to Peter Parker. In his own dimension, the original Spidey became a down and out loser. Watching this new incarnation gives a new stream of belly laughs. However, these are quadrupled when the other versions of this character are introduced including Nic Cage's wonderful Spiderman Noir and John Mulaney's bizarre cartoon pig Spiderham! Together these characters blend together seamlessly yet Miles instantly feels like the outsider. The notion of taking a leap of faith is heavily emphasized and frequently we see our hero struggle to fit. While the three co-directors are able to keep the laughs in good stock, they are also able to inject a real heart and soul into proceedings. Often this picture finds moments of levity and heartbreak when we least expect them.
The real star of Spiderman: Into the Spiderverseis the animation itself. The colors and the crisp 2D feel make this the perfect way to bring this origin story to life. It's particularly effective during a thrilling ending as the multiple universes open at once and the space-time continuum is set to go nuts! Miles emerges as the true hero of the piece and this universe shows that Spiderman's identity goes beyond Peter Parker and how its what's behind the mask that counts. Of course, there is a loving tribute to the great Stan Lee who manages to sneak in one final cameo.
Shameik Moore is the perfect choice for Miles Morales and former star of the ill-fated Netflix show 'The Get Down' is pitch perfect. Able to channel the restlessness and sheer excitement of a young teen, Moore wonderfully captures a hero in waiting. While Jake Johnson is often a love-hate figure onscreen, there are few actors who could have played Peter Parker as such an endearing failure. His lazy yet surprisingly deep delivery shows a man whose clinging his one chance to make things right. Liev Schreiber makes perhaps the most perfect Kingpin Marvel has seen yet. Vincent D'onofrio made a thumping presence in TV's Daredevil, but Schreiber's growling voice gives this man a whole new level of chills.
Spiderman: Into the Spiderverse is one of the biggest surprises Marvel could have sprung on its fans. Funny, refreshing and memorable- Miles Morales is one character we would love to have a second outing!
As a director, Brady Corbet is one of the most intriguing talents to hit our screens in recent years. His debut 'Childhood of a Leader' was a gripping yet baffling account of a child finding a terrifying ego. His follow up Vox Lux in some ways is a fine commentary on the birth of celebrity and the corruption that follows. Despite a fine set up and a masterful central turn by Natalie Portman, it just feels like a wasted opportunity.
In 1999, Celeste Montgomery (Raffey Cassidy) is a 14-year-old girl who is a survivor of a horrific school shooting. At the memorial for the victims, she sings a poignant and almost poetic tribute and instantly becomes a star. Years later, Celeste (now played by Natalie Portman) is now 31 and is preparing for a homecoming gig on Staten Island. However, a mass shooting occurs in a beach resort in Croatia which appears to have been inspired by one of her previous videos. Along with her colorful and constantly scrutinized personal life, how will she juggle another tragedy?
The first half of Vox Lux is where the movie's strength lies. Corbet jolts his audience early during a haunting opening sequence in 1999 where a disturbed boy turns up to a high school music class and immediately starting shooting people. Celeste tries to connect with him and refuses to succumb to fear, but the boy leaves her with a permanent neck scar. During the first act, a constant and personable voiceover by Willem Dafoe lets the audience fill in certain gaps. Celeste's rise to fame is a fascinating commentary on the corruption of fame as she goes from an innocent school girl to singing progressively more provocative lyrics. Recuperating in hospital from her wounds, she composes a song with her sister Eleanor (Stacy Martin). Soon the song strikes a chord with the nation and becomes as the narrator says with amused disgust "a hit!"
Managed by an ego-centric, foul-mouthed and drug-fueled manager (Jude Law), her early misadventures will be making a lasting impact such as an ill-judged fling with a grungey British guitarist. Celeste goes on to become a household name while Eleanor secretly pens her songs and the pair drift apart after a notable mid-story incident. In the first half, Corbet crafts a story that is striking and free from a cliche, but sadly is unable to maintain this momentum going into the second half. Celeste has become the hot mess that so many young starlets are unable to avoid and after an unfortunate traffic incident- the shooting in Croatia (the killers wear masks similar to one of her prior videos) has given another meal for the media to feast upon.
Part of the problem with the final act of Vox Lux fails to bring the picture full circle and never makes full use of its great potential. Tensions rise during this stretch as Eleanor and Celeste clash over her teenage daughter Albertine (also played by Cassidy)- Celeste had a kid young who was raised by her sister while she ascended to the top. While Corbet throws the logs on the fire, the sparks never rise and things just burn out. Corbet almost seems to want to avoid answering the key questions he has forced his audience to mull over. The abruptness and ambiguity of its ending frustrates more than it fascinates us. Climaxing with an extending concert film (original songs by Sia and choreographed by Portman's husband Benjamin Millepied) is well polished but unnecessary. Corbet's movie has the quality of production and a promising premise to make a great movie, but despite some great camera work and cinematography by Lol Crawley- this fails to hit the high notes.
While she only arrives late in the day, Natalie Portman is excellent as the jaded and grenade gobbed Celeste. While her Staten Island accent is perhaps overly pronounced, Portman is mesmerizing as the immature and insecure star. Showing how the pressures of fame have stripped her innocence away and turned her into a barely coherent soul. However, it's Raffey Cassidy who steals the movie away from her co-star with an assured and confident turn. On double duty, Cassidy gives two separate performances which are both equally brilliant. As the young Celeste she shows the innocence and naivety of the fame that encapsulate her while as Albertine, she shows a young girl whose unable to open up to her self-centered mother. Impressing in movies such as The Killing of a Sacred Deer, Cassidy is one for the future.
Vox Lux is a movie which leaves us wanting more in the worst possible way. Brady Corbet will be an indie king someday, but this picture is a brief misstep what could be a promising career.
To say 2018 has been a rollercoaster year is putting it mildly. Marvel once more ruled the summer roost with both Infinity War, Black Panther, and Ant-Man and the Wasp ringing the box office bell. Lady Gaga showed that she is worthy of awards contention and movies like Hereditary and A Quiet Place showed us that a new breed of horror is rising. There were welcome returns for both Spike Lee and Paul Schrader and Damien Chazelle became a Hollywood elite at only 33!
Here is Closer to the Edge's Best of 2018
Top 10 Movies of 2018
1. A Prayer Before Dawn (UK, USA, France, China, Dir: Jean-Stéphane Sauvaire)
Quite possibly the most overlooked treasure of 2018, Jean-Stéphane Sauvaire created a masterpiece which blended gut-churning tension with a thoroughly uplifting theme of redemption. Based on British prisoner Billy Moore's experience being locked in Thailand's notorious Bangkok Hilton, the movie orbits around a stunning central turn from Joe Cole. Often a shockingly violent and unpleasant watch, Sauvaire makes us unable to look away.
2. Green Book (USA, Dir: Peter Farrelly)
A road trip movie with a big heart, Peter Farrelly takes the story of two men traveling the deep south and steals our hearts. With two big central performances from a hulking Viggo Mortensen and a refined yet introverted Mahershala Ali, the movie finds its fair share of laughs. An effective and moving story about the friendship of renowned pianist Don Shirley and Tony Vallelonga- Farrelly shows us how two men from vastly different worlds can forge a bond that will last a lifetime. 3. First Man (USA, Dir: Damien Chazelle)
Unlike many biopic films, First Man showed us a very different side to the legend that is Neil Armstrong. Ryan Gosling was out of this world as the famed Commander and showed us with gritty realism the shy side of this man and his reluctance to embrace the celebrity thrust upon him. Chazelle also did a fine job of emphasizing the danger and risk that the 'Space Race' bestowed upon its pilots and how a safe return to Earth wasn't guaranteed. Riveting viewing which put its audience through the wringer.
4. BlacKkKlansman (USA, Dir: Spike Lee)
After so many years of providing middle of the road movies, Spike Lee finally remerged triumphantly. One of the most unusual yet utterly engaging concepts of 2018, Lee provided a social commentary which extends to the volatility of Trump's America. John David Washington excels as the charismatic Ron Stallworth- a 1970's black cop who convinced KKK officials he was white. Adam Driver also turned in a complex performance as Filip Zimmerman. Part ticking time bomb, part detective thriller- it feels great to have the real Spike Lee back!
5. First Reformed (USA, Dir: Paul Schrader)
Paul Schrader was another filmmaker who found his way back this year and gave us an absorbing thriller. Ethan Hawke turned in a multi-layered performance as the deeply conflicted priest Ernst Toller. Tending to a slowly decaying church and facing a crisis of faith Toller's disgust with the world slowly becomes increasingly potent. Schrader showed us the darker side to humanity and how sometimes even people of faith question their own role in the world. With an atmospheric soundtrack by Lustmond, this was one thriller which left us with our own crisis of conscience afterward.
6. Roma (Mexico/USA, Dir: Alfonso Cuaron)
Emotionally harrowing and thoroughly relatable, Alfonso Cuaron went back to his roots for this portrayal of family life. Set in 1970 Mexico City, Cuaron made full use of the difficult political backdrop and coaxed a magnificent performance from newcomer Yalitza Aparicio. The notion of having to keep strong when everyone around you is falling apart gave this movie a more devastating feel. A slow burner but worth each moment of your time, this piece showed us why Hollywood needs more filmmakers like Cuaron. 7. Annihilation (UK/USA, Dir: Alex Garland)
After experimenting in the director's chair with his previous effort Ex Machina, Alex Garland showed he is meant for a life behind the lens. Anchored by a strong turn from Natalie Portman, Garland's sci-fi was one of utter suspense. It's setting 'The Shimmer' provided all kinds of bizarre and disturbing scares. Animals crossing with humans and a chilling sequence when Portman comes face to face with a chrome mimic. Garland has arrived on the big stage and his future looks bright.
8. The Guilty (Denmark, Dir: Gustav Moller)
One of the most claustrophobic pieces of 2018, Gustav Moller's single room setting provided tension by the bucket load. Jakob Cedergren made for a fine anti-hero as Asgar, a cop forced to man the phones who eventually comes across a call which will change his life. Moller provides his audiences with many twists and turns with devastating results. Sadly already slated for US remake with Jake Gyllenhaal, this movie shows how Europe still provides superior thrillers!
9. Whitney (USA/UK, Dir: Kevin MacDonald)
Many of us thought we knew of the story of Whitney Houston. Kevin MacDonald however, lifts the lid on this starlet's dramatic rise and fall and show us a far more difficult story. Seeing her descend from a fresh-faced singer with that powerful belting voice to becoming the permanently sozzled source of media mockery is horrific. Let down by those closest to her, MacDonald shows the audience that the root cause of her problems began long before she laid eyes on Bobby Brown!
10. Black Panther (USA, Dir: Ryan Coogler)
WHAT, NO INFINITY WAR! Yes, yes I understand that many Marvel fans will be shocked that I left off the ultimate showdown that was Infinity War. Black Panther was a superhero movie of a very different kind. Embracing the African heart and soul of the character, Ryan Coogler brought Wakanda to life in stunning fashion. Chadwick Boseman was the strong yet charismatic king that this franchise so badly needs and thanks to a fantastic rivalry with Michael B Jordan this was an action movie that felt almost Shakespearean! Wakanda Forever! Best of the Rest 11. A Star is Born (USA, Dir: Bradley Cooper)
Narrowly missing the top 10- Bradley Cooper brought us a movie that threatens to give remakes a bad name. Excellent in front of the camera as well as behind it, Cooper found the perfect vehicle to show of the talents of Lady Gaga. Together the result is a movie that shows how love can tear us apart. Currently an awards front-runner, it would be hard to disagree if this swept the Oscars.
12. McQueen (UK, Dir: Ian Bonhote and Peter Ettedqui)
Designer Alexander McQueen was a man who was capable of providing fashion shows that disgusted, amazed and always captivated us. Directors Bonhote and Ettedqui go deep into his simple past as an East End boy in London to show the desire and hunger that propelled him to the top and would eventually lead to his tragic suicide. His shows are the real star of the piece and years on they still stand up. 13. A Quiet Place (USA, Dir: John Krasinski)
Possibly the most unique concept of this year, John Krasinski emerged as a multi-talented performer after one. Set in a world where Monsters kill based on sound, this whole movie was a bucket of tension which kept even its audience silent. With wife Emily Blunt helping to anchor this piece, this was one family affair which kept us lost for words long after the credits rolled.
14. Hereditary (USA, Dir: Ari Aster)
Despite not being the out and out horror that fans expected, Ari Aster's movie was two hours of sheer mind fuck. Delving into ancient mythology of demons and examining how family problems go far beyond the surface, Aster gave us a newer and more intriguing breed of horror. Toni Collette gives an excellent lead performance which scares as much as it captivates us.
15. You Were Never Really Here (UK/USA/France, Dir: Lynne Shelton)
Lynne Shelton is a director who never seems in a big hurry to make movies- seven years had passed since We Need To Talk About Kevin. The long wait was worth it as thanks to Joaquin Phoenix's morally complex turn, this was a picture that took us to the dark depths of humanity. In one part this is a story of a man trying to redeem himself, the other part is a movie that shows the desperate length some men will go to attain their desires. Come back sooner next time Lynne!
Male Star of 2018: Chadwick Boseman
Starring in not one but two of 2018's biggest films, this year belonged to Chadwick Boseman. Always a capable actor in biopics like 42 and Get On Up, Boseman became the new Marvel king in swift fashion. Having an undeniable presence on screen and capable of stealing the show away from Iron Man, Thor, and Captain America, Boseman is a big star for the future.
Female Star of 2018: Natalie Portman
Natalie Portman already has an Oscar and is highly regarded as a Hollywood elite actress. However, 2018 produced some of her best work to date. Tough and unrelenting in Annihilation and jaded, vulnerable and insecure in Brady Corbet's Vox Lux (review incoming), Portman showed a whole new side to her talent. Also, let's not forget that second brilliant rap on SNL!
Best Director: Spike Lee (BlacKkKlansman)
While I so badly wanted to give this honour to Jean-Stéphane Sauvaire- Lee just sneaks it here. BlacKkKlansman saw him finally getting back to the socially conscious and thought-provoking movies he previously delivered. This picture shows how the ongoing issue of racism and violence is still alive over 40 years later. If anyone deserves an Oscar this year its definitely Spike Lee.
Scene of the Year: First Man- Agena Spin
Damien Chazelle gave us a scene that was beautiful as it was frightening to watch. When Neil Armstrong and David Scott attempt to dock their Gemini 8 ship with the vessel Agena- what starts as a by the book effort eventually descends into something far worse. Rarely does the camera leave Gosling's face and audiences will feel as if they've taken a ride in a spinning top.
While it suffers from a rather lifeless and convoluted plot and some truly awful dialogue, Aquamanhas enough thrills to provide satisfaction. The action on screen is a mixture of several surreal, bizarre yet utterly entertaining sequences. While Jason Momoa might not have the acting chops down, it matters little here as he has the presence and charisma to hold things together.
Arthur Curry is the product of a lighthouse keeper father (Temuera Morrison) and the Queen of Atlantis, Atlanna (Nicole Kidman). As a young boy, his mother disappears to keep the peace between the sea and land. In the present day, Arthur is a renowned superhero of the sea's known as Aquaman. His half-brother Orm (Patrick Wilson) is threatening war between the surface world and Atlantis. To help save the day, Arthur must choose to embrace his past and become the king he was born to be.
While Aquaman, for the most part, is a fun adventure, it clearly doesn't give a damn about giving a plausible story. While James Wan does provide some pretty epic visuals (the entrance into Atlantis is jaw-dropping), he seems to hope that the continuous action and scenery will distract us from the drawn-out and needlessly confusing ocean political battle. Things begin promisingly with the potential for a decent backstory explain the doomed romance of Arthur's parents- sadly Wan seems in a rush to get through this. While its fun to see Atlanna single-handly wiping out a hit squad, a needed sparkle is lost early on. Arthur is very much the ace in the deck in this movie and his slightly hungover, surfer boy feel gives this character a needed realism.
While the threat of war looms throughout this movie, the story is hampered by what seems like endless political chicanery. Orm comes across as the Draco Malfoy of the deep sea, a blonde, petulant man-child who hates humanity and sets about staging a fake submarine attack to win the favour of other tribes. Many of supposedly big threats to planet earth are quickly forgotten- would a Tsunami really be dismissed so quickly? What could have been an interesting side story is let down by a number of one-note characters such as the seahorse riding Nerus (Dolph Lundgren). Worst of all is the tacked on side story of the vengeful pirate Black Mantra (Yahya-Abdul Mateen II) which adds little aside from fisticuffs and slowly destroying a seaside Sicilian town. There is an element of wannabe Shakespeare in this one as both brothers seek to claim the throne. While there is a thrilling battle to the death sequence, most of the action sequences are so out there that it cannot help be entertaining.
Ever seen an Octopus do a drum solo? A boat attack by weird amphibious monsters? Oh, and did we mention an Island filled with pterodactyls? It is almost as if Wan randomly choose the most far-out ideas he could find and put them in the script! This is what gives Aquaman its entertaining feel because even if you have zero idea what is happening you will still be fascinated. The idea of Arthur as a human/fish half-breed who cannot exist between either world is also compelling and his struggle to find his place draw us to him. The tug-o-war romance between him and Orm for mermaid character Mera (Amber Heard) adds little to story despite her being a guide for Arthur. Most bizarre of all, there is barely any mention of his Justice League status! However, maybe this movie all the better from distancing itself and finally giving needed screentime to one of the better finds of this team.
Jason Momoa might never be an acting superstar, but he sure as he has the feel of the character down. Giving Arthur a refreshing everyman quality, he is able to highlight his flaws as well as his natural leadership. Fond of his beer and also not afraid of brawling with armed pirates, Arthur is a conflicted soul who is frequently put down for his heritage. Momoa gives him a likable yet clueless charm which honestly serves this picture well. Patrick Wilson, however, is stranded with a bland and lifeless villain character- a regular collaborator with Wan in the Insidious and The Conjuring franchises, his Orm comes across as little more than a continually smirking jerk. Nicole Kidman aside from a couple of impressive scenes is given precious little as Atlanna which is disappointing because she has a strength which has the potential to define the main character.
Aquaman may not give much hope to the future of Justice League movies, but it is certainly one of the more different blockbusters you will see in 2018.
Heading back to his roots of Mexico City, Alfonso Cuaron's Roma is a much more stripped back effort than his recent big-budget efforts. Sweeping the Golden Lion at Venice, Cuaron shows why he is among movie making's elite. Behind the picture's low key feel is some sheer emotional power. Showing the ordinary going's on of the average family, Cuaron is able to bring some excellent technical mastery and brings a very real feeling to this depiction of the troubles of ordinary people.
In 1970 Mexico, Cleo (Yalitza Aparicio) works as a maid in the home of Doctor Antonio (Fernando Grediaga) and Sofia (Marina de Tavira). Their lives appear to be very routine, but beneath the facade, the parent's marriage is extremely strained. After a few inciting incidents, Cleo finds herself thrust into the role of peacekeeper. However, she has her own troubles to deal with which will culminate in some life-changing moments.
Shot in black and white, Romais a much more stripped back affair from the very beginning. A very slow burner, Cuaron is keen to bring his audience into the families world. Cleo's work is one of strict upkeep and during the opening titles we see the driveway being slowly cleaned of dog shit. There appears to be an almost loving security within the opening frames as we see her put the children to bed and happily read them stories. Thankfully there is no oversold commentary of the difference between rich and poor, Cleo is recognized as vital to the family. There is a tenderness in one scene as she happily watches television snuggled with the children. At first, this appears to be a typical depiction of an everyday family, but little by little Cuaron dismantles the facade. A very autobiographical film inspired by his own childhood in the Roma neighborhood of Mexico City- Cuaron brings an authenticity which is undeniably compelling.
His stunning use of frames is another factor which makes this one of 2018 strongest efforts. Each frame is sharp and clear and brings us any number of memorable and stunning shots. One scene shows a forest fire on New Year's Eve set against a man singing sorrowly while the flames burn. Cuaron has made great use of tracking shots in the past (his stunning one take shot in Children of Men still stands out). Here he utilizes this to full effect and often we trail the streets of Mexico opposite Cleo. We feel like we are observing a stranger and we cannot take our eyes off the screen. These small touches bring realism to proceedings and as we watch this family unravel it stabs us right to the gut. As Antonio and Sofia show signs of falling apart, Cleo is required to keep the family together which proves an arduous task.
Roma might be a picture about Cuaron's childhood, but the story is focused on Cleo. A young girl still trying to make her way, she is required to be stronger than ever imagined. Throughout she learns life lessons the hard way, such as her doomed romance with martial arts obsessed Fermin (Jorge Antonio Guerrero). She is responsible for some of the pictures most poignant and heartbreaking moments. On first glance, she seems like a shy and retiring flower, but underneath there is a strength and selflessness that makes her thoroughly endearing. While Antonio and Sofia face a bitter struggle, Cleo is one who really anchors the family.
The magic of this moment is mainly down to the stunning central performance of Yalitza Aparicio. The 25-year-old Mexican actress is a revelation onscreen and brings a performance of pure emotional intensity. Cast despite no formal training as an actress, Cuaron has found one of the stars of the future and Aparicio brings a strength and vulnerability that the film desperately needs.
Roma proves how Alfonso Cuaron is a director at the top of his game, Gravity may have won him an Oscar, but this might be a career best so far. Expect this name to appear frequently this awards season.
After winning the Viewers Choice prize at the Toronto International Film Festival, Peter Farrelly's Green Book is a film which is Oscar assured. A touching yet utterly hilarious look at real and unconventional friendship, Farrelly shows how two polar opposites can attract. On one side a firm commentary about the mistreatment of African Americans during segregation, the other this is a movie about how courage can truly make a difference. With two stunning central performances, this picture is a powerful and endearing look at a difficult time in American history.
Tony 'Lip' Vallelonga (Viggo Mortensen) is a bouncer at the Copacabana who is very quick with his fists. After the club closes for renovations, he needs work to tie him over for the next 8 weeks. Soon after a chance comes his way to drive renowned pianist Dr. Don Shirley (Mahershala Ali) on his tour of the Deep South. Needing someone to help him steer clear of trouble, the two at first continually aggravate and embarrass one another. As the trip progresses, both men will find a lasting friendship in the most unlikely way.
Green Bookis a movie that is dedicated to showcasing the unlikely feel of this friendship. When we first meet Tony, likable is not a word we would use to describe him. Unafraid to dish brute force with troublemakers and disturbers, Tony is little more than club muscle. While a loving family man to his wife Dolores (Linda Cardellini), he also possesses a racist streak which goes in line with his loud Italian family. One scene sees him drop two glasses used by black painters into the garbage, much to the disappointment of his wife. Meeting Don Shirley is something that not only broadens his worldview but busts it wide open. A multilingual, educated, world famous but conceited musician, Shirley's world couldn't be further apart from his own. Petrubed by Tony's bullish and unpolished manner, at first this turns into the road trip from hell. While in Kentucky, Tony forces his counterpart to feast on fried chicken because he makes the ignorant assumption all black man eat it. "You have a very narrow assessment of me, Tony!" gripes a bemused Don.
During this road trip, both come to slow admire the different qualities in each other. Shirley is almost seen as the authority figure in this trip- especially when he chastises Tony for stealing a 'lucky rock' from a roadside store or making him reverse the car to pick up a discarded soda cup. However, he slowly convinces Tony that using his fists will not solve every problem and to start using his head. While Tony on the surface is a dimwitted bag of muscles, his sheer street smarts and quick thinking help keep Don in one piece. Grudgingly he grows to admire his musical talents and his sheer determination to keep face in front the affluent Southerners who scorn his people at every turn. "It takes courage to change people's hearts." mentions bandmate Oleg (Dimeter Marinov). As a musician, Shirley's performances are a thing of rare beauty and Tony comes to see that only a man like him could make this so memorable.
Entering the Deep South gives this picture a slight tension as while he is given a warm welcome at the events and concerts he plays- there is still a notion that is simply tolerated. The title Green Book refers to a book given to African American travels to help them navigate this tricky region. Staying clear of provocation proves a sky-high task as Shirley's mere existence is a trigger to the locals. One night he strays out alone to a bar and Tony is called to rectify a difficult situation with hostile rednecks. Farrelly also shows Shirley as a man cast adrift between two worlds. Unaware of hit singers like Little Richard and Aretha Franklin, Shirley is too different from his own race and not accepted within the white race. Tony is the unlikely glue that holds the duo together and his fast-talking and unconventional fast acting also bring Shirley out his shell and make him more assertive. At its core, Green Book is a buddy film with a ton of heart and a stark realism and awareness of its surroundings.
As the Bronx born Tony Vallelonga, Viggo shows just why he is one of the most versatile actors Hollywood has to offer. Nicknamed 'Lip' due to his ability to talk bullshit and convince others to do things, his mouth is constantly running or shoveling large quantities of food into it. While in the beginning, he appears to be little more than a lunkheaded bruiser, Mortensen shows this characters intelligence and compassion towards his employer. Frequently able to get the bulk of the laughs, Mortensen once again is excellent. Mahershala Ali is also on dynamite form in the first post-Moonlight film. Effortlessly gripping in each scene, he gives Don a tightly wound feel that is a mask for his inner torment and loneliness. Ali once more confirms his status as one of the best upcoming leading men and this role matches Mortensen blow for blow.
Green Book is a movie that gives some real joy on screen and shows a maturity in direction by Peter Farrelly. Definitely an upcoming awards favorite.
While it is a little by the numbers and predictable- Creed IIis a still solid and enjoyable sequel. The last effort by Ryan Coogler was one devastating hook that floored even the most die-hard Rocky fan. However, with Coogler heading to Wakanda, his replacement Steven Caple Jr is still able to deliver a gutsy bout. Now officially Stallone's final ever outing as the Italian Stallion, Michael B Jordan assures us that this franchise is now in safe hands.
Adonis Creed (Michael B Jordan) has taken the heavyweight division by storm since his defeat in the prior film. Now the champion, he is keen to set about years of domination and building a future with girlfriend Bianca (Tessa Thompson). However, lurking in the shadows is the brutal and hulking Russian fighter Viktor Drago (Florian Munteanu), the son of the very man who killed his father, Ivan Drago (Dolph Lundgren). While keen to avenge his father's death and create his own legacy, Rocky Balboa (Sylvester Stallone) is not so keen on this matchup.
While Creed II, for the most part, is a well-acted and nicely executed piece, there is a sense they are just looking to draw out the mileage. A large portion of the movie is bogged down by any number of motivational speeches by Rocky about how Adonis has to go outside of what he knows. The last installment injected real heart and soul in places fans were surprised by. This time there seems to be a little too much brooding going on in between fights. Adonis is a character who slowly is growing on Rocky fan's and to be fair, the movie does capitalize on his rash and impulsive desire to beat Drago. Barely crowned champion, Rocky knows he is walking into a world of trouble.
When in the ring, the movie packs all the needed punches. Viktor is a man 'raised by hate' and Ivan's failure to beat Rocky robbed him and his son of a prosperous future. Their first bout together is a painful affair to watch and Viktor has more than inherited his Dad's brute force- he has gone above it! Adonis' challenge is made horrifically obvious here. While there is an excellent but all to brief reunion scene between Rocky and Drago, the father/son duo is mostly confined to being background villains. Which is a great shame because there is a wealth of story available about Drago's decline and desire for resurrection. This sequel is much like many of the previous Rocky outings and outside of the punches thrown, the story tends to lag.
Part of the issue is that Caple Jr seems more concerned with diverting the movie into unnecessary subplots. Bianca's story is one of the moving ones as her progressive hearing loss is becoming more potent. However, Creed II also loses valuable over whether Adonis and Bianca's newly born daughter will also inherit the same condition as her mother? Viktor and Ivan are also dealing with their own issues as Viktor is being embraced as a hero by Russia. Ivan is keen to return to the fold, but Viktor is wary of playing the puppet figure after his own Dad's notable failure. Any gripes we have are easily thrown aside with the number of enjoyable training montages. This sets the scene for a return to Moscow for another East vs West (or man against man) showdown. Like Rocky IV before it, the odds are stack against our hero and this is where the picture feels at home.
Michael B Jordan is finally making the character of Adonis Creed his own. In this installment, he is able to channel the swagger and confidence of the character and take it another level. Jordan also hones in on the self-doubt that Adonis possesses. Mentally conflicted and feeling obliged to avenge his father's honor, we see a newer and more vulnerable side. In many ways, it feels devastating that Stallone will never again grace our screens as Philly's finest. As Rocky, he gives a wonderful if not lower key send off. A man weary of the fighting world, Rocky is forced to look at his life and Adonis' decision to fight Drago is one that shocks him to the core. Still agonizing over his decision not to thrown in the towel for Apollo, Rocky is keen not to see another Creed perish.
Creed II has its faults, but at heart, it has all the enjoyment and charisma that one might expect from this franchise. Farewell Sly, you did it!
