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Tabari McCoy

McCoy on Movies: Jumanji: The Next Level

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Cast and crew reunite for a worthy return to the wild in Jumanji: The Next Level

“All right, we can’t call ourselves the Wu-Tang Clan … But we’ll come up with something cool!” Alex a.k.a. Jefferson “Seaplane” McDonough (Nick Jonas), Bethany a.k.a. Professor Sheldon “Shelly” Oberon (Jack Black), Martha a.k.a. Ruby Roundhouse (Karen Gillan), Spencer a.k.a. Dr. Smolder Bravestone (Dwayne Johnson), Grandpa Eddie (Awkafina) and Fridge a.k.a. Mouse Finbar (Kevin Hart) prepare to face the boss fight moment in a scene from JUMANJI: THE NEXT LEVEL. Credit: Frank Masi © 2019 CTMG, Inc. All rights reserved.

 

WATCH THE TRAILER(S) HERE:



 

KEY CAST MEMBERS: Dwayne Johnson, Kevin Hart, Jack Black, Karen Gillan, Danny DeVito, Danny Glover, Akwafina, Rory McCann, Ser’Darius Blain, Nick Jonas, Alex Wolff, Colin Hanks, Morgan Turner, Madison Iseman, Rhys Darby and Marin HinkleDIRECTOR(S): Jake Kasdan

THE BACK STORY: Despite almost having the game kill him and his friends, Spencer (played as a young man again by Alex Wolff) loved his experience in Jumanji – and why wouldn’t he? Whereas in real life he’s shy and awkward, in the game he was Dr. Smolder Bravestone (Dwayne Johnson), a muscular, brave leader who the ideal alpha male. Now, in real life, he’s just a college student working a crappy job in New York City away from his girlfriend Martha (Morgan Turner) and friends/fellow Jumanji survivors Fridge (Ser’Darius Blain) and Bethany (Madison Iseman). 


Coming home for the holidays, Spencer is welcomed home by his mom (Marin Hinkle) and his grandfather Eddie (Danny DeVito), the latter of which is recovering from recent hip surgery. But as Spencer is dodging hanging out with his friends, it turns out Eddie is also less than happy to see an old face when his former business partner Milo (Danny Glover), who has turned up after 15 years away mysteriously.


But before Eddie, Fridge, Martha or Bethany is able to figure out why Spencer is avoiding them or why Milo has shown up, they make a discovery that is about to change literally game: Spencer has for some reason and somehow been sucked back into Jumanji – and the game has been upgraded to the next level. 

THE REVIEW: In action comedy, you want the movie to make you laugh, you want the action sequences to be intense and you want the characters to be likable. In a sequel to an action comedy, you need the film to prove there is more to the characters we haven’t seen yet, the jokes to pay homage to the original film without being re-treads of punchlines and additional characters that enhance the story as opposed to making it feel bloated, out of sorts or just a lazy money grab.And like all good video games, Jumanji: The Next Level checks off all these standards to make its players – or in this case, the audience – ready to jump back in to play another round.

The Next Level has all of the things that made the previous Jumanji film worthwhile: Great chemistry among its cast; Black gets to play another hilarious out of body experience as does Hart as the slow-speaking Milo with Gillan, Johnson, DeVito and Awkafina all getting their respective chances to shine while pushing their PG-13 language limitations. The action sequences are thrilling (one in particular with a group of rampaging mandrills that is possibly too intense for young children) and the story maintains the underlying heart of friendship present in the first film while making sure the sequel has enough stamina to stand on its own. Thus, if you enjoyed Jumanji: Welcome to the Jungle, you’ll likely find The Next Level a fitting sequel full of entertaining adventure.

Whether or not a likely third adventure doesn’t suffer pitfalls (pun intended), however, remains to be seen …

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

McCoy on Movies

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Shults, cast shine in heartfelt – and stellar – Waves

“Now … Remember – this is a movie, not This is Us, so we won’t have commercial breaks!” Tyler (Kelvin Harrison, Jr.), Emily (Taylor Russell), Ronald (Sterling K. Brown) and Catharine (Renée Elise Goldberry) share a moment in a scene from WAVES. Credit: © 2019 A24 Films. All rights reserved.

WATCH THE TRAILER(S) HERE:

 




KEY CAST MEMBERS: Kelvin Harrison, Jr., Taylor Russell, Sterling K. Brown, Lucas Hedges, Renée Elise Goldberry and Alexa DemieDIRECTOR(S): Trey Edward Shults 

THE BACK STORY: Tyler Williams (Kelvin Harrison, Jr.) is a talented high school wrestler who has a lot going for him. Sure, his father Ronald (Sterling K. Brown) pushes him hard, but he’s got great support in the form of his stepmother (Renée Elise Goldberry), his sister Emily (Taylor Russell) and the “goddess” in his cell phone, a.k.a. his girlfriend Alexis (Alexa Demie).


Then, over the course of one night, his life changes forever – and so does the life of everyone close to him.


Their lives now turned completely upside down, the Williams family finds themselves struggling to recover in the wake of tragedy. But when Emily meets a shy classmate in the form of Luke (Lucas Hedges), she discovers she may hold the key to healing her family so that they can once again be whole. 

THE REVIEW: Finding the beauty of life and love out of tragedy and heartbreak … If there is one thing that you will take away from watching Waves – which honestly should be a nominee for Best Picture for all the reasons that past Academy Award-winner Crash shouldn’t have been – it should be this sentiment. For in crafting a tale full of promise, then self-destruction, then heartbreak and a resurrection of a chance of hope, writer/director Trey Edward Shults and his cast have created what may be the best film of 2019.Waves features a very simple story – to say more would be to give away too much – that would NOT simple to process in real life. As the domineering but well-meaning Ronald, Sterling K. Brown gives a powerhouse performance that serves almost like a “Hey – don’t forget me in the conversation of great African-American male actors” announcement, showing the type of sensitivity rarely seen in a lead black males role. It is the performances of and interaction between Russell’s Emily and Hedges’ Luke, however, that steals the show, rounding out Waves’ set of emotional exploration with grace, aplomb and wisdom beyond their years. Both show a level of talent and skill that drives their story arc home in a way people of all ages, races and orientations will likely admire and aspire to have in their own existence. There are some very hard moments to watch of self-destruction, turbulence and turmoil, followed by some extremely gentle, heartfelt and warm moments that may bring a tear of happiness as much as the others do out of sadness.

The performances truly bring out the radiance of the story of Waves, one in which you are fully immersed in the characters’ respective worlds. Shults’ nuanced work behind the lens makes the characters’ world come alive, in turn making their respective heartbreaks and outcomes all the more intense and more importantly, authentic and relatable. Watching one character’s self-destructive path give birth to the awakening of another’s could come off extremely clumsy or clichéd in the wrong hands; fortunately for Shults and company, their commitment to the tale makes everything work in grand fashion. Whether you are a parent, a confused adolescent trying to figure out the world, someone trying to overcome grief, a person holding on to a past tragic experience, Waves offers something most movies do not – therapy and hope – that may serve to help as much as it does entertain.

Yes, the story is compelling in and of itself, but it also looks to explore healing and what that may look like for many different people. Despite a predominantly African American cast, race is not the focus of the story as much as our general humanity is. That in turn may actually help in showcasing African-Americans in a way they are rarely shown in mainstream media, a fresh breath of air that explores the “we’re all human” notion without being blatant, over-the-top or fool-hearty (hence the earlier Crash reference). With apologies to Brown, one might consider it a long episode of This is Us that doesn’t explore the past or present as much as it does look towards the future.

In short, Waves should make waves upon its national release this week because in a world – pardon the terrible wordplay – full of storms, the film serves as an oasis all should experience.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: Queen & Slim

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Modern Bonnie and Clyde tale a frustrating and fascinating take on the aftermath of police brutality, modern love

“We may not be OutKast, but you gotta admit if this was our album cover, it’d be dope!” Slim (Daniel Kaluuya) and Queen (Jodie Turner-Smith) in QUEEN & SLIM, directed by Melina Matsoukas. Credit: Andre Wagner © 2019 Universal Pictures. All rights reserved.

WATCH THE TRAILER(S) HERE:



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KEY CAST MEMBERS: Daniel Kaluuya, Jodie Turner-Smith, Bookie Woodbine, Chloë Sevingy, Flea, John Sturgill Simpson, Benito Martinez, Jahi Di’Allo Winston, Gralen Bryant Banks, Bertrand E. Boyd II and Indya Moore DIRECTOR(S): Melina Matsoukas

THE BACK STORY: A story of Tinder connection gone terribly awry, Queen & Slim tells the story of a young man (Daniel Kaluuya) heading home from his first date with a headstrong young attorney (Jodie Turner-Smith). Playing around with a smartphone, the Cleveland, Ohio-based couple finds their night thrown into chaos when they catch the attention of Officer Reed (Sturgill Simpson) who pulls them over in the cold of night. 


Then gunfire erupts. 


Certain that no one will believe the truth about what has happened, the young woman convinces the young man they have one option and one option only: Run, or more accurately, drive. Scared and panicked, the young couple thus begins a journey that will see them run into a multitude of colorful characters, including but not limited to: (1) The young woman’s uncle Earl (Bokeem Woodbine) and his stable of ladies; (2) Sheriff Edgar (Benito Martinez); (3) a mechanic (Gralen Bryant Banks) and his son Junior (Jahi Di’Allo Winston) as well as a (4) Georgia couple played by Red Hot Chili Peppers’ member Flea and Chloë Sevingy along the way. 


The inadvertent Bonnie and Clyde are going to get to know each other quite well over the course of their journey, but the legacy they create on that journey be more impactful than either of them either envisioned. 

THE REVIEW: Queen & Slim, co-written by Emmy winner Lena Waithe (Bones, The Chi, Ready Player One, Master of None) with an assist from James Frey (A Million Little Pieces) who apparently shared the idea at a party, is an intriguing, frustrating, eclectic, eccentric, electric, conflicted and more-than-likely controversial example of filmmaking. It is not an easy watch by design, which in turn makes the film fascinating and frustrating and feel raw and refined at the same time. Some characters feel outrageous (or, in some cases, downright ratchet) to the point there are times the film feels like a blaxploitation piece. The language is gratuitous, the gunplay will likely be upsetting and anyone looking for “fair and balanced” coverage in regards to how the majority of police in the film are depicted would be wise to look elsewhere.For Queen & Slim is unapologetic in telling its very unconventional love story of the couple and to black America – and that is the point.

As the female lead (Queen and Slim’s actual character names are revealed late in the story), Turner-Smith’s character portrayal exhibits many of the qualities exhibited with the “strong black woman” archetype, which serves at times as both a positive and, in some cases, negative. Her headstrong nature works to both her advantage and detriment in the film, but as the audience comes to learn more of background, one can see how she has come into her own with the resulting person we see today. Likewise, once thrust into a situation he never expected or asked to be, Kaluuya’s character finds himself trying to do what so many African-Americans have difficulty doing: Enjoying life and finding love in the process.

While much more aloof and naive than his counterpart, Kaluuya’s character provides a bit of balance to Turner-Smith’s. This is in turn provides (albeit in a very unconventional showcase) life in America as a black person: Dealing with the struggle of a country where racism is prevalent and can harshly affect you every day while trying to enjoy the pursue the American dream of life, liberty and happiness.

What will be the most challenging aspect of Queen & Slim, however, is how different sectors of America react to the film. African-Americans will no doubt either empathize and/or sympathize with Queen’s and Slim’s plight and how it inspires people as the story unfolds while others may take issue with the ways in which it does. The film would make a fascinating case study in watching different audiences watch the film, for the ways in which the mainstream media simply dismisses Queen and Slim versus the way they are viewed by black people is a direct reflection of America itself. Likewise, while the aspects of sex and crime might make some say they are victims of their condition, others might see various characters in the film perpetuating their own problems – and in some ways, both could argue their points.

However, what would be the best case scenario is for different groups to use the film as a conversation starter, for there are two critical topics for which the film could serve as a litmus test: (1) Examining how and why Queen and Slim become urban legends (not in the horror movie way) and (2) how poverty and being perceived as criminals by the agents whose duty is to protect people is an ongoing problem and why it directly is tied to point no. 1. There are explosive moments in the film – the meaning of one in particular that could be argued in cable news show-style ad nauseam – which are meant to spark reaction and no doubt will so.

As Waithe herself as said in interviews, Queen & Slim is in her view “protest art” and an attempt for African-Americans to “create the heroes they need.” Given what unfolds in the film, there will be some (think conservative pundits) that have extreme difficulty seeing the characters as heroes, but that no doubt is part of the point. Thus, if you are uncomfortable, find the story disturbing or at the very least dangerous, Waithe and director Melina Matsoukas will probably be happy while at the same time being upset – for as long as America continues on its current path, they are certain more Queens and Slims will come along, for better and for worse.

This is what ultimately makes Queen & Slim is worthy of being seen, even if what you see is a love story for modern times, a disturbing – or honest – take on the aftermath of police brutality on the African-American community and/or somewhere in between.

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OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: 21 Bridges

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Chadwick Boseman, Stephan James make compelling drama out of familiar subject matter in 21 Bridges

“C’mon – I think I see the dude that convinced me to do Draft Day is right over there!” Andre Davis (Chadwick Boseman) and Frankie Burns (Siena Miller) rush in pursuit of two wanted suspects in a scene from director Brian Kirk’s 21 BRIDGES. Credit: Matt Kennedy / Motion Picture Artwork © 2017 STX Financing. All rights reserved.

WATCH THE TRAILER(S) HERE:


 

 

KEY CAST MEMBERS: Chadwick Boseman, Stephan James, Sienna Miller, Taylor Kitsch, Alexander Siddig, Morocco Omari and J.K. SimmonsDIRECTOR(S): Brian Kirk

THE BACK STORY: Andre Davis (Chadwick Boseman) is a detective in New York City. He had to be. It’s in his DNA, or at least that’s how he puts it. And given that his father was murdered on duty by three men – one of whom lived – his dedication to bringing criminals to justice rivals that of D.C. Comics’ biggest crimefighter Bruce Wayne. But while Batman may keep watch over a fictional Gotham, Andre is entrenched deep in New York City, which is why Internal Affairs is looking into his latest episode where he added to his growing body count of alleged criminals. Ray Jackson (Taylor Kitsch) and his partner Michael (Stephan James) don’t know Davis, but they soon will. For when it turns out the heist they’re involved in features 300 kilos of cocaine and not the 30 they were expecting, something seems off. Throw in an ensuing gun battle with a group of police officers who just so happen to show to the restaurant they’re robbing as if they were supposed to be there and Ray and Michael know something is wrong.

Arriving to the aftermath, Andre finds himself paired up with another detective, Frankie Burns (Sienna Miller) and a police captain in McKenna (J.K. Simmons) who want revenge moreso than justice for what has transpired. Quickly surmising the situation, Andre realizes the perpetrators have to still be in the city – which is why he orders all 21 bridges leading out of Manhattan closed. But the clock is ticking on Andre and Frankie … So there is no time to waste if they are going to catch the men responsible for what has happened.

THE REVIEW: While he has had plenty of roles in his acting career, Boseman has essentially become known for playing two kinds of people: Famous dead black people (Jackie Robinson in 42, James Brown in Get On Up and Thurgood Marshall in Marshall) and a certain costumed superhero from a fictional African country that helps save the world.21 Bridges showcases the depth of his talent – along with that of co-star James – to deliver an entertaining film despite having a very all-too-familiar style story with which to work.

Cops, robbers and conspiracy/cover tales are nearly as old as movies themselves; 21 Bridges doesn’t really do anything dynamic in regards to telling this type of tale (you can probably figure out most of what’s happening an hour or so into the film). What director Brian Kirk does do, however, is wisely present a stage where (1) the action sequences don’t feel forced and instead intense; (2) let Boseman take center stage and allow him to deliver a performance that is gripping enough to keep you interested as he breaks down scenarios and (3) trusts his actors, particularly Kitsch and James, to make their characters motivations, emotions and decisions relatable. Whereas last month’s Black and Blue dealt more with the issue of the thin blue line and which side of it African-Americans (both as police and possible perpetrators) fall on it, 21 Bridges is a standard tale of good vs. evil.

Whereas Boseman does a good job of playing the by-the-book-cop, he also does it enough style where it doesn’t feel so textbook that it lacks appeal. The same can be said for James, the co-star of the overlooked stellar 2018 release If Beale Street Could Talk. Giving his character a sense of humanity often lacking in shoot-em-up movies, watching Boseman and James play off each other adds to what would otherwise be another mash up of films that you’ve seen before.

Thus, while no one would – or should – expect 21 Bridges to do anything close to Black Panther business, it’s definitely worth seeing if you want to see Boseman flex his acting chops outside of spandex or a historical figure’s shadow.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: Frozen 2

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Anna and her sister return for enjoyable but not as magical Frozen 2

“This winter, it’s personal – no, it really is!” From left to right: Olaf (Josh Gad), Anna (Kristen Bell), Elsa (Idina Menzel, center), Kristoff (Jonathan Groff) and Sven return for FROZEN 2. Credit: © 2019 Walt Disney Pictures. All rights reserved.

WATCH THE TRAILER(S) HERE:


KEY CAST MEMBERS: Idina Menzel, Kristen Bell, Jonathan Groff, Josh Gad, Sterling K. Brown and Evan Rachel WoodDIRECTOR(S): Jennifer Lee and Chris Buck

THE BACK STORY: Following up on the events of the first film, Frozen 2 finds the magical Elsa (Idina Menzel) living happily in the utopian Arendelle with her sister Anna (Kristen Bell), her wanting-to-pop-the-question-but-unsure-how-to-do-so boyfriend Kristoff (Jonathan Groff), his beloved reindeer Sven and everyone’s favorite one-liner cracking snowman Olaf (Josh Gad). But not everything is as peaceful and happy as it seems.


As a flashback will reveal, the sisters’ parents told them of Northuldra, a forest where the people of Arendelle were enjoying a nice time with the natives until something happened and the two groups found their lives forever changed. And now, as fate would have it, a mysterious voice is calling Elsa, who has become more and more curious about the origin of her powers. Could the voice have something to do with her powers? Could there be a connection to Northuldra? 


There’s only way Elsa, Anna, Sven and Olaf are going to find out … Looks like a new adventure awaits! 

THE REVIEW: Sometimes a sequel is better than the original. Sometimes it’s worse. And then there are times where the sequel looks to deliver pretty much everything the first film had that made it successful … even if the second go round, while solid, lacks the magic of the original.The last option is the one that describes the collection of jokes and songs collectively known as Frozen 2.

Frozen 2 is not a bad movie. But if you are not a major fan of Disney’s princess collection of films, the plot is not likely to hook you in. Likewise, while some will undoubtedly find the collection of songs – especially Kristoff’s somewhat hilarious homage to 80s power rock ballads – entertaining, others may find them to be a bit repetitive in both tone and execution. (If you are not an opera fan, some of the jokes may feel a bit long in the ear, er, tooth.) Gad’s Olaf character gets to take center stage for much of Frozen 2 in terms of delivering a much needed levity to the affair, which is balanced by the cuteness factor of Bruni, the salamander representation of fire in the enchanted forest.

Frozen 2 adheres to the longstanding adage of “if it ain’t broke, don’t fix it” by making sure that if was in the first film, try to wedge it into the second film. While Elsa and Anna’s sibling rivalry has subsided, there’s still plenty of bonding in the story, as well as the idea of self-discovery, teamwork … and of course, good ol’ Olaf. Frozen 2 isn’t here to break new ground as much as it is to keep it nice and chilled as fans sing the songs long after they leave the theater. Whereas the first Frozen felt special and unique, 2 is like a slice of pizza from your favorite restaurant: satisfying but extremely familiar.

Thus, while it might be better suited for young children and Disney die-hards only, those two groups will love it … Even if everyone else might be happier if they just let it go and stopped before there is a part three.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: Charlie’s Angels

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Empowerment runs amuck over entertainment in maligned reboot of Charlie’s Angels

“Hey, what’s over there – is it the music video shoot we’re supposed to be in for the soundtrack?!” Townsend Agency agents Elena (Naomi Scott) and Sabina (Kristen Stewart) peer over into enemy territory with their newfound on-the-run client Jane (Ella Balinska) in a scene from writer/director/co-star Elizabeth Banks’ take on CHARLIE’S ANGELS. Credit: Nadja Klier © 2019 CTMG, Inc. All rights reserved.

WATCH THE TRAILER(S) HERE:



 

KEY CAST MEMBERS: Kristen Stewart, Naomi Scott, Ella Balinska, Elizabeth Banks, Nat Faxon, Jonathan Tucker, Luis Gerardo Mendez, Sam Clafin, Djimon Hounsou and Sir Patrick StewartDIRECTOR(S): Elizabeth Banks

THE BACK STORY: The product of a screenplay from and directed by Elizabeth Banks (who also co-stars), the 2019 version of Charlie’s Angels stars Ella Balinska as Jane Karo, a developer at an energy company owned by Alexander Brok (Sam Clafin). Her invention could help revolutionize energy as we know it, which is why her boss Peter Fleming (Nat Faxon) can’t wait to show it off despite the fatal flaw that could allow the project – codename Kalisto – to become weaponized. You see, Kalisto could be hacked to release a devastating electromagnetic pulse (EMP for short) in the wrong hands, which is why Jane wants to stop the project from going forward. Peter, however, has his own ideas and wants to get the product to market as soon as possible.


Jane, however, is about to have a bigger problem on her hands when in attempting to meet with a man named Bosley (Djimon Honsou), an assassin (Jonathan Tucker) tries to kill her. This leads to Jane meeting up with the rebellious Sabina (Kristen Stewart) and no-nonsense Elena (Naomi Scott), two female secret agents who work for the Townsend Agency – the same agency that employs Bosley … the soon-to-be-retiring Bosley (Patrick Stewart) … And the woman Jane will also come to know as Bosley (Banks). 

Confused? Well, you should be – it’s about to get a lot more complicated from here. And that’s why Jane’s guardian angels are about to try to save not only her life, but the world, too.

THE REVIEW: In the era of “woke” and “cancel” culture in the wake of the #MeToo movement, one might be inclined to see Charlie’s Angels as an example of empowerment in the action comedy genre. It could be taken as an attempt to show women being just as strong, sophisticated and stylish as their male counterparts with modern women in control of their careers, their bodies and life in general. There’s just one little problem with that, however, as it pertains to the film.In the quest for empowerment, Charlie’s Angels lacks a lot in the entertaining department and nearly ends up becoming at best a caricature of what it wishes to destroy in terms of the cinematic patriarchy and at its worst, an unmemorable movie.

Now, before one accuse yours truly of a blatant case of mainsplaining, let me simply point to the film’s opening scene as an example of empowerment run amuck: Stewart’s character is literally explaining to the audience why women are underestimated, unappreciated and generally taken for granted as underachievers. This is balanced out, of course, by a male antagonist so taken with her beauty, he must then via his substandard, terribly over-the-top dialogue explain why everything she is saying is basically wrong – only of course to get his comeuppance because Stewart’s seductive agent has been setting him up. Of course the audience knows it, but the film makes sure to spell it out for them because it wants to drive home the point of the entire 80 minute-plus experience: Women can do whatever and they’re gonna do it loud, brash and however they want.

Unfortunately, as the heavy handed scene also shows, in the case of Charlie’s Angels, they’re gonna hit you over the head with it at every possible turn.

Charlie’s Angels wants to be the ultimate badass female movie: It attempts to feature Stewart as a wise-cracking rebel who’s quick with her one-liners, the Rihanna-esque Scott as a … Rihanna-esque no nonsense agent (who is by far the most believable character) and Balinska as an awkward, fish out of water just trying to do the right thing. Problem is, Stewart feels like she’s doing her best imitation a female action movie hero and it’s never believable, Balinska’s fish out of water is so out of water it’s almost like a live-action cartoon a la The Simpsons and Scott feels like she’s overcompensating for the other two. None of the three characters are really developed beyond a simple explanation (“She grew up rough!” “She’s smart” “She’s smart and nerdy and awkward!”). The timing of the sexualization of their characters comes off a bit misplaced (“Let’s infiltrate this mansion … With a fully choreographed dance routine as part of our cover!”), the fight scenes are comical when meant to be serious and just silly when they meant to be comical and the heavy-handed storytelling makes sure to guide the audience instead of letting things play out more naturally.

Complicating matters further is the fact the jokes are (1) usually forced (2) usually stale and (3) just not working. The male characters are either complete bumbling morons to the point you can’t take any of them (save for Jonathan Tucker’s heavily tattooed assassin) seriously or so sleazy they might make Harvey Weinstein wince. Charlie’s Angels may go down as Stewart’s worst performance in eons. While his Bullock character on Seth McFarlane’s now exiled to TBS cartoon American Dad! is supposed to be a buffoon, the fact this character is supposed to be taken seriously is cartoonish in and of itself.

It doesn’t make for a great viewing experience outside of its target audience: Young women who want to see young women be heroes, no matter how ridiculous the story and how over-the-top pretty much everything else in the mix may be. In trying to be empowering, it almost comes off as egregious and does the very opposite of what it wishes to do for all audiences. Just like this year’s earlier action detective reboot Shaft (which had slightly better jokes … slightly), Charlie’s Angels just isn’t memorable as much as it is missable.

As a sign of very heavy foreshadowing, the music video for the lead single from the film’s soundtrack – the inane “Don’t Call Me Angel” by polarizing pop stars Lana Del Ray, Ariana Grande and Miley Cyrus – is pretty much an entire encapsulation of the project: A group of artists begging people to take them seriously by exhibiting a ton of “I don’t need your approval” attitude … While falling into every negative trope of using overly and overtly sexual grinding, lip-biting possible in a desperate attempt for approval. Don’t believe me? Check out this lyrical wizardry for yourself:”Uh, don’t call me angel when I’m a mess,
Don’t call me angel when I get undressed,
You know I, I don’t like that, boy,
Uh, I make my money, and I write the checks,
So say my name with a little respect,
All my girls successful, and you’re just our guest”

Thus, much like the aforementioned song, Charlie’s Angels whole point seems to exist for the sake of simply extending a middle finger to the cinematic patriarchy … Which would be fine if it has deeper characters (it doesn’t), an interesting, rich story (absent), or just anything that felt original, fresh and inspiring (no dice). Instead, it comes off as maligned as when Poochie was introduced on The Simpsons‘ beloved cartoon-within-a-cartoon “Itchy & Scratchy” and with similar results.
So, don’t call them angels if you like … But much like the aftermath of a bad date, there’s a good chance you shouldn’t just call, period.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN): 

 

McCoy on Movies: BLACK AND BLUE

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Cop drama toes line between reality and fiction to its advantage, target audience’s enjoyment

“OK, if they try to put Cardi B. in the next Fast & Furious movie, I’ll go – Wait! They already did it?!” New Orleans Police Officer Alicia West (Naomie Harris) prepares to fire on a would-be assailant as Mouse (Tyrese Gibson) looks on in a scene from director Deon Taylor’s action thriller BLACK AND BLUE. Credit: Alan Markfield © CTMG Inc. All rights reserved.

WATCH THE TRAILER(S) HERE:


 

KEY CAST MEMBERS: Naomie Harris, Tyrese Gibson, Frank Grillo, Mike Colter, Reid Scott, Beau Knapp, James Moses Black and Nafessa Williams DIRECTOR(S): Deon Taylor

THE BACK STORY: Alicia West (Naomie Harris) is many things. She’s a veteran with two tours in the Middle East. She’s a woman with no family now that her mother passed away earlier this year. And she’s a native of one of the most notorious wards that was done no favors by Hurricane Katrina.


Now, she’s a rookie member of the New Orleans Police Dept. working with her partner Jennings (Reid Scott) learning the beat. So, when Jennings begs her to take her place on a night shift, Alicia decides to take his place so he can go enjoy date night with his wife. 


Brown (James Moses Black), the veteran officer she’s with, isn’t the nicest fellow in the world, but he’s still a cop like Alicia so she respects him because, after all, they both back the badge. So, despite being told to stay in the car, once she hears gunshots, she’s going inside to make sure Brown isn’t in trouble.


Then she finds out Brown – along with narcotics officers Malone (Frank Grillo) and his partner (Beau Knapp) – are the ones she needs to be afraid of.

Aided only by an unlikely alliance with a local super market employee, Jackson “Mouse” Milo (Tyrese Gibson), Alicia is on the run to upload the footage on her body cam to put away the bad guys. But given that she’s now got (1) crooked cops after her; (2) local drug dealer Darius (Mike Colter) and his entire crew after her and (3) the ‘hood thinking she is the one behind a crime she didn’t commit, she’s going to be forced to make a choice: Is she more black than she is “blue” – and will it ultimately matter if no one believes her story.

THE REVIEW: On its surface, Black and Blue is a very easy movie to dismiss as it has a somewhat familiar premise (cop sees bad cops do bad stuff) and the inherent issues (African-Americans trust of the police, African-Americans in the line of police work – see HBO’s new take on Watchmen for more – etc.) within. What keeps Black and Blue from being another run-of-the-mill Training Day knockoff is how the cast and crew approach and deliver the story.Now, to be honest, there are plenty of things that will either enhance or detract from your Black and Blue viewing experiences, hence a need to explain them here. So, if you:

 

  1. Are African-American;
  2. See the film with an audience also full of minority members relating to the characters on screen in a prime example of groupthink; and
  3. Are familiar, either through the news or sadly, personal experience, with the types of police officers and “‘hood rules” present in the film, it will enhance your viewing experience.
On the flip side, if you:
  1. Are not African-American/a minority;
  2. Dismiss many of the stories in the news like this, or this, or this, or this, or this, or – I think you get the point; and
  3. Don’t believe life imitates art and vice-versa, well … Black and Blue will likely just come off as another crime caper that ventures a little bit too far into the ridiculous (there’s really only one or two incidents of that) to be anything significant.
That notwithstanding, Black and Blue works on a basic level as Harris’ makes her character intriguing despite her extreme naivety (the audience is almost ahead of her the entire movie) and the tense nature director Deon Taylor builds throughout the film. Given that Taylor’s most three recent feature lengths were the awful The Intruder (2019), the forgotten Traffik (2018) and the absolutely atrocious Meet the Blacks (2016), it seems he’s finally found a way to take his knowledge of African-American cultures and put them into a thriller that actually makes sense.
While the film doesn’t feature anyone who’s a standout name on their own (Harris is a solid actress but be honest, you probably couldn’t pick her out of a lineup by name if you don’t follow her career), Taylor uses his players well. Grillo is a quintessential character actor in the role of either a criminal or cop (check his IMDB for proof), Brown channels Bill Duke extremely well to the point you’ll find yourself surprised it’s NOT him and Gibson wisely follows Harris’ lead to move things along well. Mike Colter even does a nice job of showing he can play the opposite of his better known Luke Cage alter ego as the drug dealer heavy Darius. Of course, that’s what an actor is supposed to do, but it’s done with convincing fashion. It’s a trope, but it’s one that works. The story turns are easy to see coming, but again, thanks to the dedication of the cast, they don’t feel as stale as they otherwise would.
But to go back to the earlier checklists and why they are relevant to your enjoyment of Black and Blue, let me explain it like this: If you have experienced harassment by the individuals meant to protect and serve you, you will feel a connection to the characters in the film that are not law enforcement officials. If you are a minority trying to toe the thin blue line, you will understand all of the internal and external strife Harris’ character does being turned away by both officers and her own community. And even if you haven’t experienced it, if you have watched recent developments in America you will understand the impact of these things on both Harris’ character and others in the film. But, if you do not and worse yet, care not to know, Black and Blue will ultimately be a work of fiction and nothing more.
The reality is though all good works of fiction are stemmed in some form of truth – and Black and Blue has far too much reality around it to not make the fictional parts seem real, or, in the case for many, hope they could be, too.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: Zombieland: Double Tap

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Original cast, director re-unite to bring fresh laughs to
zombie genre with Zombieland: Double Tap

“You know, there are a lot of situations where the four of us with torches could get REALLY misinterpreted in the news … If TV news stations were still a thing in the apocalypse!” Little Rock (Abigail Breslin), Wichita (Emma Stone), Tallahassee (Woody Harrelson) and Columbus (Jesse Eisenberg) look towards another threat in a scene from ZOMBIELAND: DOUBLE TAP. Credit: Jessica Miglio © 2019 CTMG Inc. All rights reserved.


WATCH THE TRAILER(S) HERE

 


 

KEY CAST MEMBERS: Jesse Eisenberg, Woody Harrelson, Emma Stone, Abigail Breslin, Rosario Dawson, Zoey Deutsch, Luke Wilson, Avan Jogia and Thomas MiddleditchDIRECTOR(S): Ruben Fleischer

THE BACK STORY: Taking place a decade after the events of 2009’s original film, Zombieland: Double Tap finds our familiar unlikely foursome of the sarcastic Wichita (Emma Stone), her now grown-up sister Little Rock (Abigail Breslin), Wichita’s rules-for-survival following Columbus (Jessie Eisenberg) and Little Rock’s would-be father figure/cowboy wannabe Tallahassee (Woody Harrelson) living in bliss in the former White House. Unfortunately, Columbus’ dreams of marrying Wichita are driving her nuts and Wichita is ready to hit the road and hang out with some people her own age.


So, when Wichita and Little Rock split unexpectedly, Columbus and Tallahassee end eventually hitting the road as well – only to end up on a journey that will meet a less-than-intellectual bubbly girl named Madison (Zoey Deutsch), a guitar-playing pacifist named Berkley (Avan Jogia) and some more colorful characters that are going to make life in an era of zombies – many of which are evolving into new forms – quite interesting … If they survive.
THE REVIEW: Sometimes, a movie gets a sequel right  year or two after the original’s release and it feels completely unnecessary, like an absolute money grab made just because (see Hangover II and III). Sometimes, a sequel is made years if not decades after the original and it seems like it was just made for the fans but offers nothing really special to justify it needing to exist (too many to name).Zombieland: Double Tap is neither of those things; what it is, however, is a very funny film that honors the original and will satisfy fans old and new alike.

Double Tap does everything the original does with enhancements for round two: Have plenty of zinging jokes (Harrelson is almost like Samuel L. Jackson’s bald Caucasian brother both sarcasm and language wise), plenty of surprises (just wait till you see what they do with two characters … Also stay through the credits), character development/evolution and a general sense of fun while crafting a story that flows as it should in a completely absurd world. Whereas the public may be suffering zombie fatigue these days (we KNOW who to blame for that), Double Tap adds a bit of refreshing by focusing on its comedic elements without the characters themselves being silly. That allows the characters to be relatable, interesting and entertaining.

Of course, re-teaming the original cast with their original director in Ruben Fleischer helps to deliver the perfect mix of zany comedy with well-paced, reasonable action sequences to help the story progress. Double Tap is geared towards keeping the original film’s fans happy, but opens itself up to new fans with its irreverence. It’s bawdy, rowdy but balanced with its own unique (dare-I-say sweet?) qualities to deliver laughs from the literal opening title card to the credits.

You’d have to be a zombie not to like it.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

McCoy on Movies: Brittany Runs a Marathon

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Brittany Runs a Marathon uses heart, not clichés to produce inspiring, entertaining and relatable journey

“I gotta keep running … It’s the only way to avoid hearing that blasted ‘Old Town Road’ song anymore!” Brittany (Jillian Bell) takes to the streets in a scene from BRITTANY RUNS A MARATHON. Credit: © 2019 Amazon Studios. All rights reserved.


WATCH THE TRAILER(S) HERE:


KEY CAST MEMBERS: Jillian Bell, Utkarsh Ambudkar, Micah Stock, Micaela Watkins, Lil Rel Howery, Kate Harrington, Patch Darragh and Alice LeeDIRECTOR(S): Paul Downs Colaizzo

THE BACK STORY: Brittany (Jillian Bell) is a hard-partying late 20-something who is living it up in New York City with her roommate/bestie Gretchen (Alice Lee). With her sister (Kate Harrington) and the brother-in-law who basically helped raise her Demetrius (Lil Rel Howery) back in Philadelphia, Brittany isn’t too concerned that she’s late to work all the time, she drinks too much and her place is a mess, but she’s too busy living her best life to care. 


Then she goes to see a doctor (Patch Darragh) to try to score a prescription for Adderall only to receive some bad news: One, she’s not getting it and two, she needs to lose 44-55 pounds for health’s sake.


Inadvertently befriended by her upstairs neighbor Catherine (Micaela Watkins) and the wanting-to-do-better-for-his-child-Seth (Micah Stock), Jillian decides to try to join their running group to get into better shape. But as she is soon to find out, running outside isn’t going to be the only challenge in her life since she’s been running away from all the other problems that have manifested themselves into who she is today.
THE REVIEW: Inspired by true events, Brittany Runs a Marathon is a very good movie. It’s doesn’t provide a revelation in terms of its story, how it arrives to its final destination or contain some element of its cinematic presentation that is so overwhelmingly unique that it propels it to something resembling classic status. What it does do, however – thanks to a very fine leading performance by Bell that many will understand and find more relatable than many of us will care to admit if the numbers are true – is present a story that makes you root for the main character will in turn examining your own shortcomings (and potentially inspire you to do better, too).Leaving out the more over-the-top elements one might find in a Amy Schumer or Rebel Wilson picture, Bell – best known for her comedic turns in films such as 22 Jump Street and Rough Night – makes Brittany a person (let alone woman) you know. In a culture where many publicly either body shame the overweight or crucify those that do, Bell’s performance digs just a little bit deeper into tackling issues like how our bodies make us feel about ourselves as a whole, the complications that come with perception of the types of lives overweight people have resigned their selves to and dealing with setbacks not just with exercise, but life as a whole.

This emotional depth exhibited by Bell, Watkins, Stock and Utkarsh Ambudkar as Brittany’s annoying co-worker is what keeps the film from feeling and being formulaic. Not everything is wrapped up nearly with a bow, the characters aren’t so cookie cutter you could simply replace them with others from another movie and there’s no over-the-top, that doesn’t make sense EXCEPT to make “x” happen moment. Instead, you get a woman trying to change her life while fighting demons that many of us face, working through them as best she can and coming to a place where she can be happier than she is not.

Seeing Brittany Runs a Marathon may just do the same for you … Or at least New Balance hopes so given all the product placement in the movie.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 


McCoy on Movies: Good Boys

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Tweens walk the line between innocence, debauchery in good-natured Good Boys

“I don’t think that drone is flying to wherever are friends are playing Fortnite …” Lucas (Keith L. Williams), Max (Jacob Tremblay) and Thor (Brady Noon) in a scene from GOOD BOYS. Credit: Ed Araquel/Universal Pictuers. © 2019 Universal Studios.


WATCH THE TRAILER(S) HERE:


RED BAND TRAILER (NSFW)
 


KEY CAST MEMBERS: Jacob Tremblay, Keith L. Williams, Brady Noon, Molly Gordon, Lil Rel Howery, Retta, Izaac Wang, Millie Davis, Josh Caras, Will Forte and Midori Francis


DIRECTOR(S): Gene Stupnitsky

THE BACK STORY: Three best friends – Lucas (Keith L. Williams), Thor (Brady Noon) and Max (Jacob Tremblay) – are adjusting to life in 6th grade when they one of them gets invited to a party that could change their life. That’s because the party is a kissing party and Max’s crush Brixlee (Millie Davis) is going to be there. 


Unfortunately for Max and his two friends a.k.a. “The Bean Bag Boys,” none of them have any idea how to kiss, so they find themselves in a panic of trying to learn on the fly. This leads to the bright idea to use Max’s dad’s (Will Forte) work drone to spy on Hannah (Molly Gordon) and her boyfriend Benji (Josh Caras), who Hannah and her friend Lily (Midori Francis) to show up with the drugs for their road trip to Chicago. So … What happens when the he boys inadvertently find themselves on the run from Hannah and Lily and needing to replace Max’s dad’s work property?


A whole lot of things that your average sixth grader isn’t prepared to handle, that’s for sure.
THE REVIEW: A comedy that rides a fine line between showing its trio of leads as innocent youngsters … Who also can be a tad foul-mouthed and too knowledgeable for their own good, Good Boys is a funny, entertaining romp that is more sweet than it is sinful. But when the film is sinful, it’s likely going to be more than the average parent (moreso than their children) can likely handle given the exposure to sex toys, drugs and alcohol and hearing three kids who look as innocent as our makeshift heroes do curse. But therein lies the hook of the film as the boys are not troublemakers out to looking to do foul things; instead, they are more apt to try and do the right thing in the most ludicrous of situations, which is what results in the film’s best moments more often than not.Whereas Jacob Tremblay (Room) does a good job of serving as the group’s makeshift leader, Keith L. Williams constant snitching on the trio’s misdeeds (even when they weren’t doing anything that wrong) plays well for comedic effect affect against Thor’s wannabe bad boy (who really doesn’t) act. Thus, you get a mix of kids trying to do what all children do at their age: Trying to become more mature and find their way in the world even though it’s obvious to almost anyone looking they have no clue what they’re doing.

That strive to maintain the innocence of the characters does restrain Good Boys at times from reaching its potential peak hilarity as there are several moments you can feel that either director Gene Stupnitsky or the film’s producers said “let’s not push further than this.” This creates a bit of a catch-22 for the audience, for once you’ve found yourself laughing at a boy giving his crush a necklace that is NOT a necklace, you’ve pretty much already gone past the “see, we’re not pushing the envelope that far” notion. At its essence, Good Boys is a film about trying to maintain a childlike innocence in a world where that is increasingly hard to do and growing up through and overcoming adversity … Just with more items you’d expect to find in your closet than your kid’s.

So …. If you’re looking for a comedy with heart and spirit that also will make sure to talk to your kids about staying out of mommy and/or daddy’s drawers when they’re not at home, Good Boys will likely win your heart with laughs a plenty. If you’d rather not look at your young middle schooler and have to have a conversation on the way home in the car, you might wish to sit this one out or – as some of the parents at the advance screening yours truly attended – leave them at home.

Just don’t say that no one warned you what you were getting into.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 


 

McCoy on Movies: Angry Birds 2

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Angry Birds 2 full of enjoyable animated lunacy for kids, adults alike

“Look – that’s all the parents laughing at the jokes the little kids aren’t getting!” L to R: Bomb (Danny McBride), Chuck (Josh Gad), Silver (Rachel Bloom), Red (Jason Sudeikis), Courtney (Awkafina), Garry (Sterling K. Brown) and Leonard (Bill Hader) in Columbia Pictures and Rovio Animations’ ANGRY BIRDS 2. Credit: © 2019 Courtesy of Sony Pictures. All rights reserved. 



WATCH THE TRAILER(S) HERE:



 

KEY CAST MEMBERS: Jason Sudeikis, Josh Gad, Leslie Jones, Bill Hader, Rachel Bloom, Awkwafina, Sterling K. Brown, Eugenio Derbez, Danny McBride, Peter Dinklage, Pete Davidson, Zach Woods, Dove Cameron, Lil Rel Howery, Nicki Minaj, Beck Bennett and Brooklynn Prince


DIRECTOR(S): Thurop Van Orman

THE BACK STORY: Following the events of the first movie, Angry Birds 2 once again stars the voice of Jason Sudeikis as Red, the town outcast turned hero when he – along with help from Chuck (Josh Gad), Bomb (Danny McBride) and Terence (Nolan North) – ended up saving Bird Island from the green pig egg-stealing invasion led by Leonard (Bill Hader). Now happily enjoying his role as the leader of the island, Red is enjoying life with little anger these days …

And that’s when Leonard returns to inform him of a third island where Zeta (Leslie Jones), the leader of the eagles, is plotting to take out both of their homes.

Being forced to work with Leonard – as well his assistant Courtney (Awkwafina) and his tech pig Garry (Sterling K. Brown) – would be bad enough for Red, but add Bird Island’s own Mighty Eagle (Peter Dinklage) and Chuck’s whiz kid sister Silver (Rachel Bloom) to the mix and you’ve got everything you need to make Red one very angry bird. Again. 

THE REVIEW: In a world where superhero movies have gone from pitiful to (usually) fantastic, the original Angry Birds movie was an OK adaptation of a video game to animated big screen adventure. It established the worlds of its pixelated counterparts where a story could be told, delivered enough family-friendly adventure and set the stage for future iterations of the franchise if it did well. Well, it obviously did well enough to result in The Angry Birds Movie 2, which for many people would seem to be easily dismissible as another unnecessary sequel probably best saved for little kids or anyone who really liked the first movie or the mobile game it was inspired by … And if you are in the former camp more than the latter, you’d likely be forgiven for your decision to ignore adding no. 2 to your watchlist.Once you see it, however, you’ll likely be pleasantly surprised to learn that Angry Birds 2 is a throwback to the days when Tiny Toon Adventures and Animaniacs dominated 90s animated programming – for this Looney Tunes on acid affair features enough entertainment to make even the angriest movie goer laugh repeatedly.

Angry Birds 2 is one of those movies where everything nuance and detail clicks; whereas the first movie felt a little predictable and more about telling the story, Angry Birds 2 finds its vocal actors injecting each character with distinct personality, playing well off each other and walking the line between “did they just say that in a kids’ movie?!” to the point adults where the film feels entertaining enough for kids, but really made for adults. Jones shines as Zeta, delivering in your face quips that strike a good balance between traditionally cartoon silly and effective with the rest of the cast following suit as well. Director Thurop Van Orman keeps things moving along quite efficiently, his storyboards coming to life in a fashion where each scene feels like its own Saturday Night Live sketch in the frame of one giant story. Then again, that should come as no surprise given all the SNL alumni in the cast; whoever picked the film’s musical soundtrack should win some sort of award (or at least be given a bonus) as each song is placed in perfect accordance with the scenes, setting moods and/or enhancing jokes.

Throw in the Despicable Me/Minions-like B story involving the Hatchlings from the first film and one of them’s desperate, almost like Scrat in the Ice Age franchise-like pursuit to retrieve their baby sisters and you have a near perfect balance of entertainment for those 8 to 12 years old with those 18 and older. It all helps make Angry Birds 2 the funniest animated movie thus far in 2019 and one of the more entertaining to boot.

Just don’t get angry at anyone but yourself if you choose to skip it in favor of that app you keep playing with on your smartphone instead.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: The Fast & the Furious Presents: Hobbs & Shaw

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Fast & Furious spinoff Hobbs & Shaw delivers everything
fans of the series have come to expect and love

“OK – Luther the Movie vs. “The Rock” vs. “The Transporter” in a biggest box office draw wins triple threat match!” Luke Hobbs (Dwayne Johnson, left in t-shirt) sits chained with his unlikely partner Deckard Shaw (Jason Statham) while Brixton (Idris Elba) watches front and center in a scene from Fast & Furious Presents: Hobbs & Shaw. Credit: Universal Pictures © 2019 Universal Studios. All rights reserved. 

WATCH THE TRAILER(S) HERE:



KEY CAST MEMBERS: Dwayne Johnson, Jason Statham, Idris Elba, Vanessa Kirby, Eliana Sua, Cliff Curtis, Eddie Marsan, Lori Pelenise Tuisano, Eiza González and Helen Mirren

DIRECTOR(S): David Leitch

THE BACK STORY: The Fast & The Furious Presents: Hobbs & Shaw centers around two men who could not be more polar opposites: Luke Hobbs (Dwayne Johnson) is a hard-nosed, meat and potatoes, truck-driving badass who splits his time working for the DSS and being a father to his 9 year-old daughter Sam (Eliana Sua). Deckard Shaw (Jason Statham) is a suave, suit-wearing former Mi6 agent with skillful hand-to-hand fighting skills to go with his beloved sports cars. His imprisoned mother Queenie (Helen Mirren), however, wishes he would reconcile with his sister Hattie (Vanessa Kirby) so she could see her kids together before she possibly gets out of jail.


As luck would have it, Queenie may get her wish because Hattie, who is currently a top-level Mi6 agent, just got framed for murdering the rest of her crew by Brixton (Idris Elba), a cybernetically-enhanced worker for a mysterious corporation named Eteon that looks to speed up the next step in human evolution … By releasing a super virus inadvertently created by Professor Andreiko (Eddie Marsan) with a 100 percent fatality rate. But guess who stole the virus and injected into her body before Brixton could get his hands on it, leaving her only 72 hours to live unless those capsules get taken back out of her body first?


Now with Hobbs and Shaw commissioned by their respective agencies to go recover the virus and save the world – and if they can in the process, save Hattie, too – these two dudes are going to have to learn to get along before they kill the bad guys … Or each other.
THE REVIEW: After eight Fast & Furious movies, you could say that the series pretty much has its formula down pat: You get a bunch of guys (and girls) who are equal parts pure sex and testosterone who in turn exhibit traditional values of family over everything, staying faithful to those faithful to you … And forgiving people who have been coerced into seemingly turning against only to find out they had good reason to do so and/or never did. Hobbs & Shaw continues this tradition, pausing only to add two big name comedic stars in roles that could have long-term implications, a precocious child in Sua’s Sam and another female lead that proves she can more than hold her own.In short, if you’ve liked the last say three or four Furious movies, you’re going to love Hobbs & Shaw which does everything in its power to prove the old adage of “too much of a good thing” never applies when you’ve got insane driving sequences, rampages of hand-to-hand combat and gunplay and a group of Samoans ready to throw down.

Evoking a strong “I hate you/No, I hate you more” vibe not seen working this efficiently since the days when Eddie Murphy and Nick Nolte were also paired up against a clock, Hobbs & Shaw focuses on everything Johnson and Statham are good at: Kicking asses while dispensing quick one-upping one liners before turning to show the classic “badass with a heart” mode with their respective family members. Each actor makes all three elements of their characters work in a genuine fashion, never once feeling forced, out of place or silly in a way that would make an ever-so-tight-lipped Dominic Toretto smile.

Elba hits all his marks as the bad guy who doesn’t really view himself as the bad guy yet know why everyone thinks he’s the bad guy (besides all the killing), making his Brixton the baddest black Brit since Lennox Lewis was winning heavyweight titles. He fares well as a matchup for Hobbs and Shaw, playing his antagonist well in much the Michael B. Jordan as Erik Killmonger vein of black supervillains. Likewise, Kirby more than holds her own as the tomboy girl all young boys would want to hang with before growing up into the girl next door you’d love to date … If she and/or her older brother didn’t beat you down first with their fighting skills.

Throw in a final showdown in Samoa that pays homage to both The Rock, er, Johnson’s wrestling roots (complete with a signature move by his cousin Joe “Roman Reigns” Anoa’i) and the Fast & Furious longstanding foundation of family and you’ve pretty much got everything you need to make Hobbs & Shaw a worthwhile spinoff. (The three well-known comedic actors who also lend their talents to the film also carve out great comedy niches in their abbreviated screen time, making their roles more effective in the brevity.)

But for a franchise now nine films deep with at least two more on the way, brevity is not something Fast & Furious fans are going to have to worry about – at least not while Hobbs & Shaw has anything to say about it.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

McCoy on Movies: Once Upon A Time in Hollywood

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Tarantino die-hards best suited to travel back in time for the hodgepodge buddy comedy/crime tale of Once Upon a Time in Hollywood

“Hi … We’re also getting paid a ton of money for this!” Cliff Booth (Brad Pitt) shakes hands with Marvin Schwarz (Al Pacino) while Rick Dalton (Leonardo DiCaprio) looks on in a scene from writer/director Quentin Taratino’s wild and wacky ONCE UPON A TIME IN HOLLYWOOD. Credit: Andrew Cooper. © 2018 CTMG, Inc. All rights reserved.

 

WATCH THE TRAILER(S) HERE:


KEY CAST MEMBERS: Leonardo DiCaprio, Brad Pitt, Margot Robbie, Dakota Fanning, Timothy Olyphant, Austin Qualley, Margaret Qualley, Damion Herriman, Emile Hirsch, Mike Moh, Lena Dunham, Julia Butters and Kurt Russell with Bruce Dern and Al Pacino

DIRECTOR(S): Quentin Tarantino

THE BACK STORY: Rick Dalton (Leonardo DiCaprio) is a man at a crossroads. His TV career isn’t fulfilling him and his last leading role just got canceled, hence the reason he wishes to transition into films … But he’s having trouble doing so. His longtime stunt double Cliff Booth (Brad Pitt), however, is just at peace with his lot in life, driving Rick to and from set while hanging out with his loyal pooch in his AirStream trailer home. 


But while Rick laments his falling star and Cliff tries to make him realize the sky isn’t falling with it, Sharon Tate (Margot Robbie) is living the high life as Rick’s new neighbor. Married to hotshot director Roman Polanski (Rafal Zawierucha), Sharon is enjoying a budding movie career and life with her husband … And her ex-boyfriend/hairdresser to the stars Jay Sebring (Emile Hirsch). 


While Cliff is living his life fairly carefree, things are about to change when he picks up a hippie hitchhiker (Margaret Qualley) who can’t wait for him to meet Squeaky (Dakota Fanning), Tex (Austin Qualley) and Charlie (Damion Herriman). But since Charlie is the leader of a “family” that has a very unique view on the world, things are about to change in a way that only can happen in a Taratino-helmed picture …

THE REVIEW: For a movie that’s 2 hours and 40 minutes-plus in length, you would be inclined to hope Once Upon a Time in Hollywood wouldn’t feel a bit (1) disjointed; (2) incomplete; (3) half-baked and (4) have some focus storytelling flair to match its visuals that are writer/director Quentin Tarantino’s homage to the last “golden era” of Hollywood. Instead, what you have are two movies in one: (1) A buddy comedy about an aging film star (DiCaprio’s Dalton) finding his place in the world and (2) a crime fantasy drama about the Manson family and a stuntman’s interaction with them.If that sounds a bit confusing to you, watching Once Upon a Time in Hollywood will make it clearer how they are connected … Even though you will likely leave the theater with feelings as mixed as the movie itself.

A man who loves to do things brash and big, there is no wonder why Tarantino would love to explore the world of Hollywood in the 1960s. Likewise, given his penchant for crime tales and revisionist history, there is plenty of source material for Tarantino to utilize. Instead, Once Upon feels more like exploiting all of the glitz and glamour before devolving into a live-action cartoon of South Park-level insanity but with Family Guy-like intelligence. (By the way, I like both cartoons, but let’s be honest: One has gone from frathouse humor to a near graduate studies course on modern socio-political issues while the other will throw out a Conway Twitty clip or a chicken fight when there isn’t a more involved punchline.) Once Upon instead is a hodgepodge of everything that Tarantino wants to cram into a movie; problem is, when you try to cram everything in, a lot of those things don’t get the time they need to develop. And when you have a movie that is trying to essentially be two things in one, it often doesn’t work. Once Upon suffers this fate as the true crime aspects – Tarantino’s take features real people, but isn’t exactly based on a true story – at times feel forced and Dalton’s story was worthy of its own movie, not one in which it shares it with another idea.

On a positive note, DiCaprio does DiCaprio things which prove his worth as one of modern Hollywood’s best actors with Pitt smiling and charming his way as only he can through his scenes. Problem is, that’s pretty much all Pitt does save for the film’s twisted final 20 minutes. His interaction with the Manson Family is a bit like a pro wrestling character: You either buy it or you just kinda go “meh.”

The real tragedy may be Robbie’s performance, or rather the lack thereof of it. Robbie does very little as Sharon Tate other than laugh, smile, giggle and hug – that’s it – but it’s not her fault. There’s really not much else to her role nor is she given any opportunity to showcase why she could have been a compelling person other than a tragic footnote in real-life Hollywood history. With so much that could have been done with the character, Tarantino’s tribute to her feels more like a caricature of her, needless to say it does not achieve the desired result.

The main thing that will stick with audiences, however, is that outside of the Dalton tale, the film feels grandiose, long as its runtime and just a really potluck of stories and storytelling. If Tarantino’s plan really is to retire after 10 films, he’s going to need a dynamite exit piece to atone for the Once Upon. For this is the equivalent to New Coke, Kanye West’s 808 & Heartbreaks, the last season of Game of Thrones and LeBron James leaving Cleveland to take his talents to South Beach. Sure, there will be plenty of die-hard Tarantino fans that will laud it as the greatest thing since his last greatest thing, but the causal fan may simply go “I get it … But was it really worth getting?”

For a film that attempts to entertain by celebrating and then exploring Hollywood’s Golden Age, Once Upon a Time in Hollywood will be fortunate to settle for anything close to bronze.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

McCoy on Movies: Spiderman

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Holland, director/co-writer Watts feel right where they need to be with Spider-Man: Far From Home

“Hi there … We’re getting ready to make a lot of money together for a major Hollywood studio!” Peter Parker (Tom Holland, center) gets introduced to Quentin Beck (Jake Gyllenhaal, right) while Nick Fury’s assistant soldier Dmitri (Numan Acar, far left) in a scene from SPIDER-MAN: FAR FROM HOME. Credit: Jay Maidment © 2019 CTMG, Inc. All rights reserved.

 

WATCH THE TRAILER(S) HERE:



KEY CAST MEMBERS: Tom Holland, Jake Gyllenhaal, Jon Favreau, Jacob Balaton, Zendaya, Samuel L. Jackson, Cobie Smulders, Angourie Rice, J.B. Smoove, Martin Starr, Tony Revolori, Remy Hii and Marisa Tomei


DIRECTOR(S): Jon Watts

THE BACK STORY: Still reeling from the events of Avengers: Endgame, Spider-Man: Far From Home finds Peter Parker (Tom Holland) still attempting to get over the [SPOILER ALERT – BUT YOU’VE HAD PLENTY OF TIME TO FIND THIS OUT!] death of his mentor Tony Stark. Now, Tony’s trusted right hand man Happy Hogan (Jon Favreau) is trying to help Peter progress and move forward; Nick Fury (Samuel L. Jackson) and Maria Hill (Cobie Smulders), on the other hand, are hoping to talk to him about the Elementals, a threat that just popped up in Mexico and may be moving in to more spots around the globe. 


Peter, however, has one thing on his mind – well two, if you count his suspicious about what his Aunt May (Marisa Tomei) may be up to in her free time – and that’s his upcoming class trip to Europe with Ned (Jacob Balaton), MJ (Zendaya), Flash (Tony Revolori), Betty (Angourie Rice), Brad (Remy Hii) and their science teachers/chaperones Mr. Harrington (Martin Starr) and Mr. Bell (J.B. Smoove). Unfortunately for Peter, (1) Nick Fury isn’t going to take kindly to him trying to ghost his calls; (2) Brad – who grew up quite a bit in the 5 years after “the blip” – has his eyes on MJ, too and (3) It seems like that disturbance in Mexico seems to be heading towards Europe.


But luckily for Peter, he’s about to get some help in form of a soldier from an alternate Earth who has come to fights the Elementals by the name of Quentin Beck (Jake Gyllenhaal) … Or, as the world will soon come to know him, Mysterio …
THE REVIEW: Given all that happened in the latter movie, many fans were shocked to learn that it would be Spider-Man: Far From Home and not Avengers: Endgame that would wrap up Marvel’s Phase Three plans. It would almost seem that by doing so, Far From Home would have an immense amount of pressure to live up to, especially since a year is slated to pass before Marvel drops another film on the public. But this is Marvel we’re talking about, which means there is no way they were going to let Sony Pictures let one of its most iconic characters go out and make the studio nor Iron Man down.In other words, Far From Home lives up to expectations and then some with a well-crafted story, action sequences, plenty of humor and a game-changing ending worthy of passing the torch from Tony Stark to Peter Parker.

Given that longtime fans of the character have already watched Tobey Maguire and Andrew Garfield attempt to carve out their own niche as Spider-Man, Holland may now own the mantle as the definitive actor to play him – Far From Home serving as his greatest showcase to date. Exhibiting the classic naiveté of a teenager at times as he still tries to understand of what he is fully capable both as a superhero and a young man with his eye on a girl, Holland also shows all of the classic comic book elements that made Spider-Man such a big deal in the first place in terms of his humor, creativity and strength when he is forced to step up and go to battle. His interactions with his all of co-stars only serve to enhance these facets of the character as his ragtag group of fellow students feels perfectly cast with Balaton, Zendaya, Revolori, Hii and Rice all adding perfectly to the story.

Likewise, the adults more than come through in Far From Home with their respective roles. While you’re never really going to ever go wrong with Jackson doing Jackson-like things for two hours as Nick Fury with Smulders exhibiting a calm cool as his second-in-command, Favreau keeps his comedy contingency high while adding as a bit of diet Stark to whom Holland’s Parker can vent his frustrations. Tomei keeps finding ways to make the cinematic version of Aunt May more interesting she’s ever been and Gyllenhaal expertly exhibits all of the elements of his character ala the way Michael Keaton did in Spider-Man: Homecoming.

Director Jon Watts (who co-wrote the film with Chris McKenna and Erik Sommers) proves his previous work with Spider-Man wasn’t a fluke, as Far From Home steps up everything the aforementioned Homecoming does in terms of pacing, humor, peril, general storytelling and visual engagement well. The film never feels as long as its 2 hour, 15 minute running time, no moments feel wasted and his ability to get everything he needs in the moment out of his actors definitely pays dividends with the finished product. In short, Watts and co. have done the thing that is very hard to do with any superhero story, let alone a movie in general: Craft a tale that satisfies every need with a cast that you won’t spend time second-guessing if they were right for the role and a story that contains enough original, organic moments combined “oh – didn’t see that coming!” ones to tie into the larger world (in this case, the Marvel Cinematic Universe / MCU for short) while still being its own unique thing.

So while the character himself may be far from home, the latest Spider-Man movie proves that when it comes to the future of the MCU, he’s definitely found one as long as Holland, Watts and co. can continue to deliver quality stories like this.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 


McCoy on Movies: Men In Black International

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“Hey … Is that a green, incredible-looking hulk of a man over there?!” Agent M (Tessa Thompson) and Agent H (Chris Hemsworth) survey their surroundings in Morocco in a scene from director F. Gary Gray’s MEN IN BLACK INTERNATIONAL. Credit: Giles Keyte © 2019 CTMG, Inc. All rights reserved.

WATCH THE TRAILER(S) HERE:



 

KEY CAST MEMBERS: Tessa Thompson, Chris Hemsworth, Liam Neeson, Emma Thompson, Rafe Spall, Kumail Nanjiani, Rebecca Ferguson and Larry and Laurent Bourgeois DIRECTOR(S): F. Gary Gray

THE BACK STORY: As a child, Molly (Tessa Thompson) and her parents saw an alien creature … But when the two men in black suits showed up to neuralize her mom and dad, they didn’t know she saw the alien, too, so she never forgot it. Fast-forward 20 years later and Molly has spent her whole life preparing to join the mysterious agency that tracks the ultimate foreigners to earth – which is why she jumps at the chance to prove herself to Agent O (Emma Thompson) once she discovers the Men In Black (MIB).For her first assignment, Molly – now known as Agent M – is paired up with Agent H (Chris Hemsworth) at MIB’s London office. Trained by his superior officer/London office head High T (Liam Neeson), Agent H is as reckless as he supposedly is heroic, a man that likes to party as hard as he sometimes works. Tasked with entertaining an alien from a planet that could destroy earth, things take a turn for the worse when two beings that may be from “The Hive,” a shape shifting alien race that can basically crush anything in its collective path, shows up on the scene. And now, to avoid an intergalactic incident, it’s up to a rookie agent and a philandering agent to save us all.

THE REVIEW: Me, before the screening: “You know, watching the trailer, it doesn’t seem like Hemsworth and Thompson have any chemistry in this movie.”Friend who shall remain nameless, looking almost taken aback by my comment as if it were absurd: “They were fine together in Thor: Ragnarok.”

Me, nearly two hours after the credits began to roll: “This is NOT Thor: Ragnarok.”

Friend, looking as bored as I was with disappointment in their eyes: “Yeah.”

Chris Hemsworth is NOT Will Smith nor should he ever try to or desire to be as his career up to this point has been pretty phenomenal all things considered. Likewise, Thompson’s star has seemed to be on the up-and-up in recent memory with hits both inside and out of the Marvel Universe to her credit. However, after witnessing the tedious, boring and “let’s go through the very familiar motions without any real emotion for the most part” affair that is Men In Black International (MIBI for short), both Hemsworth and Thompson might be wise to call up Marvel Studios’ head Kevin Feige and ask if there are any chances to cameo in Disney’s upcoming Loki streaming series. For MIBI is a largely flat, soulless affair that would be better served being left in a galaxy far, far away.

As Thor, Hemsworth has found a great way to portray a powerful individual who can be charming, heroic, serious, focused and at times a childlike jerk that has to be coaxed into doing the right thing/learning how to step up and embrace his destiny. As Agent H, however, he comes off as just a boorish, pretentious, dare I say dumb lout of an individual who you can’t believe in any capacity. H is stale from start to finish, which may not all be Hemsworth’s fault as he isn’t given much at all to work with. It could be worse; Neeson looks to be on site to simply collect a check a’la Michael Caine in Jaws: The Revenge. Tommy Lee Jones (or even Josh Brolin in MIB 3) he is not. To watch Hemsworth and Neeson turn in such poor performances is just mind-numbing, both literally and figuratively.

Thompson, for her part, tries to play things very smart, very smooth and very seriously … Which fails due to an incredibly dull script with plenty of “we’ve been here before!” moments that attempt to capture old magic that just isn’t there. Whereas Smith has moved on to bluer pastures as the scene-stealing genie in the equally underwhelming (but still better) live action remake of Aladdin, Thompson is asked to drive a car down a course we’ve all scene before – this time with a LOT less bells and whistles or even scenery to keep you entertained, or at the very least, distracted.

Sure, her encounter with arms dealer/H’s ex Riza (a very game Rebecca Ferguson) adds a little life to the festivities, but MIBI is loaded with so much bland dialogue and ho-hum action sequences Thompson kind of comes off like the best player on an 0-16 NFL team. Kumail Nanjiani adds some humorous commentary as Pawnee, the helpful little creature that serves as the Frank the Pug to Thompson’s Agent M, but the old “let’s have the cute little creature get involved” routine feels more like a desperation move than essential storytelling. And that’s just it: For a film franchise that pumped out three quality stories, MIBI has zero charm, zero captivating effects and a dearth of heart, emotion or even interesting storytelling to enthrall you.

If it weren’t for Thompson and the small doses of Nanjiani’s character, MIBI might serve as a great cure for insomnia as you could be asleep in the first 40 minutes. Even the nods to the past MIB films feel flat; given how lame the movie is, though, NOT reminding fans about the past is probably for the best. The convoluted, uninspired storytelling under director F. Gary Gray – F. Gary Gray of all people! – is additionally saddening. Why is The Hive so deadly? What is their motivation? How does it tie in to Men In Black? Why aren’t these questions answered better so I can give you a better review?!

You can watch Men In Black: International if you wish … But given how long and tedious it is to build to a very anti-climatic climax you may just wish a neuralizer was real to wipe the movie from your memory as a result.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: Shaft

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Shaft utilizes father-son dynamic for laughs to overcome
convoluted story and character’s social shortcomings

“All right, you got me … I DO know Nick Fury but we are NOT from Wakanda!” The film’s namesake (Samuel L. Jackson, center, with hands up) tries to reason with a criminal as his dad (Richard Roundtree, the original John Shaft, right) and his son John Jr. (Jessie T. Usher, left) and his friend (Alexandra Shipp, far left) look on. Credit: Kyle Kaplan © 2019 Warner Bros. Entertainment. All rights reserved.

WATCH THE TRAILER(S) HERE:


 

KEY CAST MEMBERS: Samuel L. Jackson, Jessie T. Usher, Alexandra Shipp, Regina Hall, Titus Welliver, Avan Jogia, Luna Lauren Velez, Aaron Dominguez, Matt Lauria and Cliff “Method Man” Smith and Richard Roundtree with Isaach De BankoléDIRECTOR(S): Tim Story

THE BACK STORY: John Shaft (Samuel L. Jackson) is Harlem’s protector, a detective with a break bones first if necessary, ask questions later style that matches his apparel and his automobile. That’s partially the reason his ex Mya (Regina Hall) left him, taking his young son John Shaft, Jr. in the process (well that and dealing with one shootout too many for her liking). 


Now, 20 years later, John Shaft Jr. – JJ (Jessie T. Usher) for short – is making his own way in the world as a data analyst at the FBI. A graduate of MIT, JJ is good with his hands, even if his sense of style and personality are not traditional in terms of the male Shaft family name. Then JJ’s best friend Karim (Avan Jogia) get killed.


Looking for answers with his other best friend Sasha (Alexandra Shipp), JJ ultimately decides to turn to help from the one person least likely to give it to him: his dad. As you might expect, a two decade gap in his child’s life leads to some serious daddy issues .. But once father and son learn the ins and outs of the case, it might be time for a family reunion if they are going to survive and get to the truth about what happened to Karim.
THE REVIEW: Sometimes, you can get a movie that’s a crowd pleaser because the characters are engaging enough to make up for the film’s flaws that also packs enough humor in it to make you overlook the things that don’t work. Co-written by Kenya Barris of black-ish and grown-ish fame, 2019’s Shaft (not to be confused with 2000’s installment also starring Samuel L. Jackson) is more of a comedy than any previous installments have ever been, which has both positive and negative side effects on the film as a whole.As one might expect, the familiar father/son crime-fighting trope is at times as tired as you’d expect; then again, Jackson and Usher play to their strengths well enough that the whole “old playa tries to teach millennial while millennial tries to make old playa learn the error of most of his social ways” routine feel fresher than it should. Recurring jokes about the younger Shaft’s manhood and sexuality may not likely play well in mainstream America, but urban audiences raised on generations of comedians like 1980s Eddie Murphy and late greats like Robin Harris (who gets some nice screen time in the movie) and Bernie Mac will likely enjoy it in spades. Likewise, the where there are plenty of times the film’s machismo levels spin out of control, they are eventually grounded back to earth enough to keep things moving forward.

Then again, there isn’t too much to worry about moving forward as the plot is pretty much standard action movie fare (someone dies, the simplest answer is too simple and there’s a bigger conspiracy afoot). This is why Jackson’s full-on Sam Jax mode performance coupled with Usher’s fish out of water routine are so critical to the film’s overall entertainment level. Throw in a soundtrack that may make longstanding fans of African-American cinema wish for the days of the 1990s when every hit urban film came with a classic album to boot and Shaft makes up for its shortcomings well-enough to give the people what they want: Samuel Jackson cursing and taking names like no one else can, Hall giving it back to him and enough laughs to go around. It’s far from perfect, but it will please the majority of modern audiences here for a good time (even if it’s not really a great movie as much as it is an okay one).

As the theme song said so many moons ago, you’ll probably be better off just shutting your mouth and accepting it for what it is instead of thinking about what it could have been or should be.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):