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Review of THE LOST CITY (2022) (Blu-ray)

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Grade:  B
Adventure-comedy
Rated PG-13

Sandra Bullock is at her comic best when she plays a character that would seem more comfortable in a drama than a comedy—someone who gets swept up reluctantly in the narrative events, but learns something about herself and others in the process. Including how to lighten up a bit. She excels at being the equivalent of a vaudevillian “second banana,” who plays it tongue-in-cheek straight while the other person is more ostensibly funny. It happened that way when she played opposite Ryan Reynolds in The Proposal and opposite Melissa McCarthy in The Heat, and it works the same way in The Lost City as she reacts to Channing Tatum.

The 2022 adventure-comedy fared well at the box office and with most critics, with the Rotten Tomatoes bunch giving it a 79 percent “fresh” rating, while the audience score was 83 percent. That’s a pretty high ranking, considering that the screenplay itself is nothing really new—just a mash-up of Romancing the Stone and Indiana Jones/Allan Quartermain adventures.

You’ll recognize similarities in a number of scenes, as when a ruined car forces them into a jungle gully and bad guys start shooting at them. But mostly the influence is made obvious when the film opens and former academic-turned-romance-novelist Loretta Sage (Bullock) is imagining a scene with her long-haired dashing hero who’s humorously named Dash McMahon (Tatum). Because Tatum’s character, Alan Caprison, is a model who was hired for a previous book cover and ended up being even more a fan favorite as Dash than the author herself, he’s part of a tour to promote her new book, The Lost City of D. But his flamboyance annoys Loretta and a first-event fiasco leads her to withdraw from the tour.

As good as Tatum and Bullock are together, they’re almost upstaged by Daniel Radcliffe and Brad Pitt in supporting roles. Radcliffe plays Abigail (more cheeky naming) Fairfax, a billionaire who realizes Loretta’s latest book was based on research she did with her late husband. When she refuses Abby’s offer to join his expedition to recover the Crown of Fire, he chloroforms her and kidnaps her. And like any self-respecting romantic hero, Alan decides he has to save her, with a little help from a man he once took self-awareness and flexibility lessons from:  Jack Trainer (Pitt), a former Navy SEAL and CIA operative who meets him on the island and proceeds to grab the spotlight in hilarious fashion. If you enjoyed Pitt’s dramedic talents in Once Upon a Time in Hollywood, you’re going to love how he manages to be more over-the-top yet still understated and deadpan as can be.

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Review of SWASHBUCKLER (1976) (Blu-ray)

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Grade:  B+
Action-Adventure/Comedy
Rated PG (see below)

Pirates of the Caribbean fans who are looking toward the future and wincing at the prospect of Margot Robbie replacing Johnny Depp might find some comfort in looking backwards. I didn’t know it until I watched this all-region Blu-ray import, but the 1976 pirate movie Swashbucker was an obvious influence on Disney’s theme-park-ride-turned-film-franchise. 

The first third of Swashbucker has the same comic tone and breakneck action of the first Pirates of the Caribbean film. The basic premise for the opening scene is here too:  Drums beat as a pirate is about to be hanged. But then a pirate ship comes around the corner, a pirate captain swings onto the hanging platform to rescue his second in command, and as they escape you almost expect one of them to say “You will always remember today as the day you almost caught . . . Nick Debrett, who sails with Captain Ned Lynch.”

Elements of the basic premise and structure are here, too. The kindly and fair governor of Jamaica has been deposed by an ambitious man and now is imprisoned. His daughter would have been as well, had she not fought and escaped. After that the three main characters who interact and drive the film are Jane Barnet (Genevieve Bujold), Nick Debrett (James Earl Jones), and Ned Lynch (Robert Shaw)—just as Disney’s films would depend upon the triangle of Elizabeth Swan, Will Turner, and Jack Sparrow.

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Review of UNCHARTED (Blu-ray)

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Grade:  C+/B-
Action-Adventure
Rated PG-13

I’m a big fan of the Indiana Jones and National Treasure movies, so I wanted Uncharted and its treasure hunt to have the same energy level and quality.

But it doesn’t. The writing isn’t as crisp, the plotting isn’t as complex-yet-understandable, and the whole film tonally just doesn’t feel as if the writers could agree on the level of tongue-in-cheekiness vs. serious adventure vs. video game style. Then there’s this nagging feeling that the stars aren’t having as much fun as they should be, all things considered. Tom Holland is engaging. Mark Wahlberg is engaging. But they feel separately engaging, and not consistently so.

When it hit theaters in 2022, Uncharted quickly became the fourth highest grossing film of 2022—which, given the mixed reviews, pretty much hints at how badly fans wanted to like this film in spite of what critics may have been saying.

I mean, when you cast Holland fresh off his latest Spider-Man success and pair his built-in naiveté and nice-guy affability with someone like Wahlberg and the world-weary cynicism he seems to drag behind him like a bag of complaints, you’d think something more fun would happen—or at least more than what the film provides.

You almost feel like the film is in trouble in the early going when the attempt to establish a backstory for Nate (Holland) feels a bit clumsy and confusing. So how is it that orphans Nate and brother Sam are somehow accomplished enough to try to steal a map from a Boston museum and can come and go as they please? And why, when the orphanage kicks Sam out and he leaves through a window, doesn’t brother Nate go with him if they’re legitimately a treasure-hunting team with that kind of capability? Whether Sam is using or protecting his brother, the sequence felt rushed and paint-by-numbers.

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Review of SPIDER-MAN: NO WAY HOME (Blu-ray combo)

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Grade:  A-
Fantasy-Adventure
Rated PG-13

Well, it’s out: Spider-Man’s identity and the film that almost wasn’t, now available on home video.

Spider-Man: No Way Home (2021) almost didn’t happen because of corporate greed, but ironically ended up making more money than ever for Sony and Marvel-Disney, who couldn’t come to an agreement over future Spider-Man movies. Fan backlash sent them back to the negotiating table, and the resulting sequel to 2019’s Spider-Man: Far from Home became the highest grossing Spider-Man film and sixth-highest grossing film of all time.

No Way Home also got the highest ratings from critics and fans on Rotten Tomatoes, with 93 percent of critics and 98 percent of audience members loving it—better, even, than fan favorite Spider-Man 2 (2004) featuring Doc Oc.

See? Good things happen when you play nice and listen to fans. But it’s next to impossible to keep a secret from them. Word leaked that somehow previous Spider-Men Tobey Maguire and Andrew Garfield would be involved.

Writers Chris McKenna and Erik Sommers had taken inspiration from It’s a Wonderful Life, where a wish provided the basis for the plot and a domino chain of revelations. Far from Home ended with Spider-Man’s identity exposed and reputation destroyed. The writers decided to have him do what any young and still immature adult would do: wish it away. Peter Parker (Tom Holland) asks Dr. Strange (Benedict Cumberbatch) to use his magic to make everyone forget Spider-Man’s identity so things can return to normal. But because he keeps tinkering with the spell by adding people he wants to still remember him—girlfriend MJ (Zendaya), best friend Ned (Jacob Batalon), and Aunt May (Marisa Tomei)—the spell goes awry. The multiverse breals open, and visitors good and bad enter his universe.

McKenna and Sommers wrote the screenplay before Maguire and Garfield even agreed to participate. But their wishful thinking paid off. Fans have debated who’s the best, as they have with Bond actors. Dropping all three into the same film was pure genius—and it’s not just fan-candy or a curtain-call film. There’s actual chemistry among the three, and it’s fun seeing them not only work together as superheroes and compare powers, but also reference their own films.

There’s consistency, too, because Jon Watts—who directed the first two films starring Holland—is also behind the camera for this one. The light touch that’s been a part of his sensibilities is here in triplicate, and that’s good news for families. When the tone is light and there are moments that spark laughter, it tends to balance the fantasy-adventure violence and traumatic moments, sending a message to young viewers that this is first and foremost a fun ride. Enjoy it. Although a beloved character does die and there’s some blood, stabbing, and serious punching, the “reunion” aspect of former villains and heroes entering the current Spider-Man universe takes a little off the edge of the violence.

No Way Home earned an Oscar nomination for its special effects, and apart from a sequence involving power lines in a forested area that looks very much like it was shot using miniatures, I can see why. The complicated Tetris-like shifting of the urban landscape completely suggests a universe that is fracturing, and the portals that lead from one universe to the next are rendered convincingly. The film’s budget was estimated to be a whopping $200 million, but the opening weekend box office alone was $260 million in the U.S. and Canada.

Just one question:  When a superhero fall, lands, or finds their footing again, is it deliberately campy that every single time they assume that low-crouch, one-hand-on-the-ground superhero pose? And how long will it take Disney to realize that they can build a fun theme-park attraction for fans if they have people take turns assuming the pose in front of a green screen so they can see themselves in a finished shot with background added?

Entire family:  No (age 8 and older?)
Run time:  148 min.
Aspect ratio:  2.39:1 widescreen
Featured audio:  DTS-HDMA 5.1
Studio/Distributor:  Columbia Pictures/Pascal Pictures/Marvel Studios
Bonus features:  B
Includes:  Blu-ray, DVD, Digital Code
Trailer
Amazon link
Rated PG-13 for sequences of action/violence, some language, and brief suggestive comments

Language:  2/10—A few of the characters use the “s” word and there might be a few other lesser profanities, but no f-bombs

Sex:  1/10—Chaste as can be, with a few kisses plus an instance where a man is shown from the torso-up saying “I’m butt-ass naked”

Violence:  6/10—Punching, pummeling, explosions, and superhero-villain battling, but not much blood except for one emotional scene

Adult situations:  2/10—Really, all Marvel Universe films are adult-world films that kids have been a part of since the comic books first appeared, but in this one there are no drugs and the only scene that has anything close to drinking is an end-credit scene set in a bar

Takeaway:  The ending sets up fourth film, but thus far nothing is in pre-production

Review of THE PAPER TIGERS (Blu-ray)

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Grade:  B-
Action comedy-drama
Rated PG-13

If your family loved Cobra Kai—or even The Karate Kid films that preceded the popular TV series—and you’re looking for another martial arts offering that balances medium-intensity action, drama, and humor, you might consider The Paper Tigers. Yuji Okumoto, who appeared in the second Karate Kid film and also Cobra Kai, was the film’s producer.

This English-language 2020 martial arts film from director Quoc Bao Tran is as much in the tradition of old-guys-proving-they’ve-still-got-it tradition of films like Space Cowboys (2000) and Old Dogs (2009) as it is the kung fu movies. But don’t fear, younger viewers, there’s young martial arts action too. It’s just that the focus is on three middle-aged men whose bodies have seen better days. In other words, this isn’t your typical Asian martial arts film, though it does have an almost obligatory memorable fight scene.

The Paper Tigers features three likable guys who are just that: guys. Too many martial arts films are all action with nothing but paper characters—kung fu wizards who do little more than kick, block, and punch their way through every scene. The heroes of this film are Everymen, real flesh-and-blood people who just happen to have bonded in the youth when they were “The Three Tigers,” as their master dubbed them. One of the characters happens to be African American and the other two Asian American, but all three are treated as people because “at the end of the day, we wanted to tell a fun, entertaining story that depicted our experience honestly,” Tran told the media.

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Review of THE MARKSMAN (Blu-ray)

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Grade:  B-/C+
Action thriller
Rated PG-13

From the first scene where an aging Arizona rancher (Liam Neeson) stumbles onto a cartel “situation” and ends up with a bag full of money, to a scene that’s the equivalent of the Coen Brothers’ “coin toss scene,” The Marksman feels like a cheap knockoff of No Country for Old Men.  And with a little Hunt for the Wilderpeople added for good measure.

What cheapens it isn’t Neeson’s performance, but rather a formulaic approach to ticking off the boxes rather than concentrating on creating characters and relationships with any individuality or depth.

For one thing, first-time director Robert Lorenz spends too much time in the early going just establishing a few facts that could have been hinted at more subtly: 

—Jim Hanson was a Vietnam War veteran who earned a medal for marksmanship

—Jim Hanson is lost and lonely because his wife died of cancer

—Jim Hanson is going to lose his ranch unless he can come up with a lot of money to pay for back mortgage payments

The film is also marred by characters that push past stereotypes into caricature country.

Javier Bardem has nothing to fear from the cartel bad ass that Lorenz gives us here. Mauricio—called “Heffe” and played by Juan Pablo Raba—is too cartoonish to be chilling. He’s just a bad guy who sneers a lot and stares a lot in lingering close-ups. Oh we believe him when he says he’s going to kill the old rancher who drove away with the son of a Mexican woman he already killed at the border. And we believe he’s determined to recover the drug money that the boy’s (now deceased) uncle had taken from him and given to his (now deceased) mother. But Bardem as Anton Chigurh was a one-and-done, just as Heath Ledger’s lizard-tongued Joker was a one-time affair. Try to duplicate it and you’re doomed to fall short.  

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Review of THE COURT JESTER (Blu-ray)

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Grade: B+/A-
Adventure Comedy
Not rated (would be G)

The Robin Hood legend gets a makeover and a different focal character in The Court Jester (1956), one of Danny Kaye’s best. Along with Bob Hope’s The Princess and the Pirate, it’s also one of the classic costume comedies from the Technicolor era.

Once you get past a slightly corny title-sequence song sung onscreen by Kaye, this medieval musical comedy-adventure is full of pageantry and fun. Kaye plays Hubert Hawkins, a minstrel among merry men who hide in the forest and serve a Robin Hood figure known as The Black Fox. Aside from providing entertainment, Hawkins’ main job is to attend to the true king of England—a baby that somehow escaped the slaughter ordered by King Roderick the Tyrant (Cecil Parker) by his henchman, Lord Ravenhurst. That includes changing diapers and pulling said diaper down to reveal a “purple pimpernel” (a takeoff on The Scarlet Pimpernel) to each subject, who then kneels.

Despite his own timidity, Hawkins yearns for a more active and manly job. He finally gets his chance when he’s ordered to team with the swashbuckling Maid Jean (Glynis Johns) and take the child to safety after the group’s forest lair had been discovered. What follows is a clever plot with more twists than a French braid and running gags involving mistaken identity, slapstick, tongue twisters, and snappy catch-phrases.

At $4 million, The Court Jester was the most expensive comedy filmed to date, and it has a lot of elements that still make it appealing for family viewing. Colorful costumes by Edith Head really pop in high definition and bring to life the grandeur of Hollywood’s romantic vision of castles and courtly intrigues. There’s a petulant princess (Angela Lansbury, Bedknobs and Broomsticks) who refuses to marry a blustery Scotsman just so her father can form a political alliance. That princess has an attendant (Mildred Natwick) who is also a sorceress capable of hypnotizing people. And there is a troupe of little persons (billed as Hermine’s Midgets) that perform acrobatics and clever stunts that factor heavily in the family-friendly action. The American Legion Zoaves from Jackson, Michigan even make an entertaining appearance in a sequence where a knighthood ceremony is comically rendered. More

Review of THE MAN WHO WOULD BE KING (Blu-ray)

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Grade: B+/A-
Adventure
Rated PG (but see below)

Rudyard Kipling adventures have always been popular with Hollywood and its audiences. The Jungle Book, Captains Courageous, Soldiers Three, Rikki-Tikki-Tavi, Wee Willie Winkie, and Kim were a part of every youngster’s coming of age in the last half of the 20th century. But filmmakers ignored Kipling’s The Man Who Would Be King until the legendary John Huston took up the challenge in 1975.

Maybe that’s because “The Man Who Would Be King,” one of the stories published in Kipling’s The Phantom Rickshaw and other Eerie Tales (1888), is a little more adult than this film’s PG rating would suggest. The heroes are amoral at best, and in addition to adult situations there are a few grisly elements.

If your family saw and enjoyed The Road to El Dorado, that 2000 animated adventure was also based on “The Man Who Would Be King,” but softened for family audiences. This feature from the director of The Maltese Falcon, The Treasure of the Sierra Madre, The African Queen, and The Misfits stays pretty close to Kipling’s original tale.

The story follows the exploits of two former British soldiers who had fought in India and Bharat and now crave adventure more than a return to England, retirement, or respectability. They’re rogues, really, who seem nice enough yet don’t give killing a second thought. They’re also motivated by greed and self-interest—not exactly the kind of heroes that Hollywood gravitated towards. But the anti-hero that had become popular in the late ‘60s paved the way for audiences to watch Peachey Carnehan (Sir Michael Caine) and Daniel Dravot (Sir Sean Connery) with fascination, if not admiration. More

Review of LOVE AND MONSTERS (Blu-ray)

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Grade: A-/B+
Sci-fi/Fantasy Adventure
Rated PG-13

Love and Monsters has a lot in common with 2009’s Zombieland, except that the post-apocalyptic plague that threatens surviving humans in this 2020 film consists of mutated monster-size insects and toads and such, rather than a viral-induced plague of zombies. Both are post-apocalyptic coming-of-age films.

Instead of an unproven and unsure-of-himself teen trying to get to his family in Ohio, Love and Monsters features an unproven and unsure-of-himself young adult (Dylan O’Brien)—more sensitive artist than warrior. After everyone in his survivor group had paired off romantically, Joel decides to leave the bunker and trek the “surface” for seven days to find the girlfriend he had acquired just as the catastrophe had struck seven years ago.

Instead of meeting and joining forces with a mentor who was an expert zombie killer in search of the last Twinkies on Earth (as Jesse Eisenberg’s character did), Joel meets up with a grizzled survivor (Dan Ewing) who has been living on the surface with an adopted young girl called Minnow (Ariana Greenblatt). One quester learned the secrets of zombie killing and survival in a zombie world, while the other learns how to stay alive in a world filled with monsters that can attack at any moment.

Although Zombieland and Love and Monsters are both quest/survival stories involving a likable young male character, there is one important difference for families to note: Zombieland was rated R for horror violence/gore, while Love and Monsters is rated PG-13 for action/violence, language, and some suggestive material. The latter feels like a hero’s journey through a fantasy land filled with the kind of fantastic creatures one saw in films based on J.K. Rowling books, while the former features humans turning into zombies and then having to be killed. But visually they’re still humans, and as a result it feels more like killing than it does to eliminate an enormous and enormously fantastic monster. Plus, Zombieland was all about finding creative (and graphic) ways to kill zombies. It had a Whack-a-Mole feel to it, having more in common with slasher-horror movies than anything else. But the focus in Love and Monsters is more on Joel’s own survival and his quest for love. Love and Monsters feels like a fun monster movie, with a scarier Alice in Wonderland feel to it, which makes Love and Monsters more suitable for a younger audience—say, 8 years and up? More

Review of TWINS (1988) (Blu-ray)

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Grade: B-/C+
Action comedy
Rated PG

Bodybuilder turned actor turned governor Arnold Schwarzenegger starred as a straight-up action hero in most of his films, but he also appeared in four comedies: The Kid and I (2005), Jingle All the Way (1996), Kindergarten Cop (1990), and Twins (1988). Of those, two are stinkers and the ones shot within two years of each other fall into the category of guilty pleasures—though audiences that first saw Twins in theaters weren’t feeling guilty at all. Twins grossed $216 million worldwide and provided Schwarzenegger and co-star Danny DeVito with a financial windfall, as the two had agreed to take 20 percent of the profits in lieu of their usual fees. Twins was also popular enough on home video releases that a sequel—Triplets—is now in preproduction.

The comedy’s basic premise easily could have been one that drove a sinister conspiracy film instead: research doctors seeking to create the perfect human recruited a woman to father a child that was the DNA-engineered product of six men. When the baby was born, doctors were surprised that the embryo had split somehow and a second baby followed. One (Schwarzenegger) had all the desirable elements of the six fathers’ DNA, while the other (DeVito) was the product of genetic leftovers.

The mother (Bonnie Bartlett) was told her baby died in childbirth, when really the boy had been shunted to a tropical island to be raised by one of the scientists. And the other? He was given to an orphanage, and turned out to be as the nuns predicted: a small time criminal whom you could most likely find in jail.

The plot starts in motion when the scientist raising the near-perfect Julius finally tells him about his brother, and Julius instantly sets out in a rowboat across the ocean to find him some 30 miles away in L.A. Meanwhile, our introduction to brother Vincent comes when we see the diminutive balding man with a pony tail rolling out of a second story window after the husband of a woman he’d been sleeping with came home unexpectedly and caught them. Apparently Vincent had seduced a nun when he was 12 and has had some sort of power over women ever since—which is harder to believe than the film’s basic premise. Get past that, though, and the plot plays out with the kind of light amusement you’d expect from a guilty pleasure, with a surprising amount of action involving two sets of bad guys that are after the twins. Some of them are loan sharks, while others are thugs hired to deliver some illicit merchandise that is inadvertently “detoured” by Vincent.

Twins relies on the contrast between brothers for its humor and interest. Julius has the kind of strength (and body, which we see bare-chested several times) needed to protect his ne’er-do-well brother, but Vincent has the street smarts. Not surprisingly, there’s a double character arc, with one brother so naïve that he has to learn about the basics of life (including sex), and the other so cynical and unscrupulous that he has to learn that family and people in your lives are worth being good for. Chloe Webb and Kelly Preston play two sisters that share the twins’ journey, and fans of old TV Westerns will also enjoy seeing an older but fit-as-Arnold Hugh O’Brian as one of the twins’ fathers. O’Brian played Wyatt Earp and still looks like he could handle whatever bad guys might jump him. More

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