franchise

Review: ‘Rogue One’ Is About Half Of A Great Star Wars Movie

rogue one

Before Rogue One, which is aptly subtitled “A Star Wars Story,” even begins, it suffers from a remarkable weakness no other movie in this franchise has ever had. A real purpose.

It’s a standalone prequel to the original trilogy, filling the gap (and space) between Episodes III and IV, but it does nothing of note beyond that, except to elaborate on a minor plot point that sets up A New Hope, in the form of a ragtag suicide squad on a mission to retrieve the Death Star plans so Luke Skywalker can find them in a droid days later.

All the while, Rogue One presents side character archetypes as protagonists to a well-realized war movie, one without much of the Force or any stunning lightsaber duels to balance against the space battles. It’s exactly one-half of what we love about Star Wars, but lavishly treated with respect for fans who’ve always yearned for a shift in emphasis toward the “Wars” in “Star Wars.” Cinematographer Greig Fraser (Zero Dark Thirty) managed to make this universe feel big again, and one of the film’s greatest strengths is its sense of location and a visual consistency begging for a better story to match it.

There’s no doubting this is the galaxy far far away, just taking place a bit earlier than what George Lucas and his team established aesthetically 40 years ago. The colors, technology, and overall atmosphere are masterfully recreated, less so however with the CGI-rendered actors we recognize from A New Hope as well, not that they’re the prime focus of what’s essentially an ensemble film. Less recreated, however, are any deep or enriching characters to serve as a compelling thread throughout this surprisingly complex (and fast) war drama.

rogue one

It seems at one point that Disney and Lucasfilm intended to give a weightier role to Jyn Erso, played rather straight here by Felicity Jones, once again one of about three women in a Rebellion consisting of hundreds of men onscreen, which is a noticeable step back from the more balanced Force Awakens.

Much of the material used in the trailers for Erso seem to have been shifted in those pesky reshoots, so that the rest of the “Rogue One” rebels too rebellious for the rebellion could have thematically interesting moments of their own. That was the intention, anyway. Instead, even the most creative characters are quite thin, falling short of what’s done so successfully in Guardians of the Galaxy, which is a more cohesive and ultimately satisfying “misfit ensemble in space” movie.

Rogue One is a classic example of what happens when a beautiful and polished movie filled with colorful characters fails to come together by the third act, which is more bombastic and methodical than anything epic or narratively  fulfilling. The story builds to something far more grand in scope, while also personal in its individual characters’ struggles against the overwhelming Empire, but instead, everything simply fizzles out and fades to the distance to make way for New Hope matters, muting the questionable triumph for these rebels, instead of what the dialogue suggests we ought to feel for them.

rogue one

That said, Rogue One is an easy sell for fans of Star Wars, who will love it anyway for everything that does work—like the complexities rendered for a tougher, less forgiving Rebel Alliance and world-class sci-fi cinematography and sound mixing—and overlook what is sorely missing that would have made this good film actually great, or at least as memorable as something like The Force Awakens, a flawed movie that had a much easier time justifying itself.

Come for the snarky droid, stay for the blind Force monk, and prepare for one scene in particular toward the very end that will make you yearn to see a “real” Star Wars film.

Grade: B

Extra Credits:

  • Now I’m really worried about that Young Han Solo spinoff.
  • Better than the prequels, but that’s about it.
  • First Star Wars movie not scored by John Williams, which is pretty sad. But Michael Giacchino did a tremendous job, and this one has a main score I found much more memorable than in Force Awakens. Edit: I do wish, though, that the music matched the movie’s actual tone. I just don’t blame Giacchino.
  • Alan Tudyk as the aforementioned snark droid, K-2SO,  was easily the best character. Not just in terms of comic relief, but as the obvious heart of the team, similar to Tudyk’s “Wash” in Firefly.
  • Some of the cameos and Easter eggs are great. A handful are just pointless and completely unnecessary, similar to the prequels. Still, I won’t spoil any so you can view them as surprises. Not enough of this movie is a surprise, anyway.

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    Or just say hello on Twitter: @JonNegroni

Is ‘Finding Dory’ Part of Hollywood’s Sequel Problem?

finding dory sequel problem

Mark Harris via Vulture: The Sequels of 2016 Aren’t About Storytelling; They’re Just Brand Extensions

I don’t consider “sequel” a slur. But it’s notable how much the impetus behind them has changed, and with it, their very nature.

This summer’s sequels are not, for the most part, story continuations but brand extensions. Some are good and some not; some have succeeded and some have flopped, but almost all of them are different beasts than the first generation of blockbuster genre sequels.

To my taste, the best reason to make a sequel is because the story demands it.

Overall, this is a great write-up by Harris that articulates a lot of the frustration I and many critics and fans have been having with sequels this year. He even champions Marvel’s Civil War as a good example of how sequels with grander narrative purpose make better impressions on audiences who’ve grown savvy to Hollywood’s sequel formula.

But I would disagree on one example he brings up briefly.

As for Finding Dory, it’s a solid brand refresher that will make a mint — an effective way for Disney to remonetize a dormant franchise. But nothing will convince me that Pixar’s move from being arguably the finest producer of original content in Hollywood to a sequel manufactory (next up: The Incredibles 2, Cars 3, Toy Story 4) is anything but dispiriting news.

I don’t disagree with Harris on this point at all, but I think Finding Dory is a wildly inappropriate example of his main point. Finding Dory is no Civil War in the sense that it exists in a larger universe of movies with a single narrative (or is it?), but that doesn’t mean it’s a bad sequel off of the definition Harris attributes above to movies like TMNT: Out of the Shadows and The Huntsman: Winter’s War.

Go on…Is ‘Finding Dory’ Part of Hollywood’s Sequel Problem?

Review: 10 Cloverfield Lane Explores Clever New Ways to Build a Franchise

10 cloverfield lane review

10 Cloverfield Lane is built on a premise that goes beyond itself: what if you could watch a sequel to a movie without knowing anything about it?

The news of this semi-followup to the found-footage monster movie Cloverfield only dropped this past January. Scant and frankly uninformative marketing materials and trailers have done little to paint what 10 Cloverfield Lane truly is as a film, and that’s for a best. This is a movie that relies heavily on how you engage with its story and characters, and that’s much easier when you have no idea what they’re going to do next.

In other words, it’s a fantastic thriller that also happens to be brimming with surprises. If you haven’t seen the movie yet and want to have the same “pure” experience I had, then I strongly suggest you stop reading this review now.

While the original Cloverfield centered on a city-wide disaster, this sequel (if you want to call it that) is mostly contained within a small, underground bunker. After crashing her car, Michelle (played by Mary Elizabeth Winstead) is saved by an ex-navy farmer named Howard (John Goodman). He takes her to his shelter just as an attack from “who knows where” renders the air completely toxic. They’re joined by Emmet, the hired hand who helped build the bunker (John Gallagher Jr). Unlike Michelle, he saw the chaos unfold and fought his way in just as Howard was shutting the door for good.

10 cloverfield lane review

From there, 10 Cloverfield Lane explores the deep tension between three claustrophobic characters. Michelle is convinced something is afoot, despite Emmet’s confidence that the world really has ended. They’re both terrified and somewhat perplexed by Howard’s eccentric behavior, and their dynamic serve as a sort of surreal take on the “suburban” family.

The moving parts of this film are just as diverse. There are ample scares and tense moments, but the movie also contains a good amount of humor carried by Goodman’s mesmerizing performance as the unpredictable conspiracy theorist. And the characters frequently find themselves having genuine breakthroughs with each other emotionally, adding even more weight to the overt symbolism that is their three-person family trapped under unusual circumstances.

Winstead as Michelle is terrific throughout, always thinking on her feet and fighting solutions just as quick as she causes the problems she finds herself in. Lesser films would be content to leave Michelle to a reactionary state, letting luck dictate her development. Instead, she is as quick to action as any other character, further generating the tension for this film’s best scenes, including a chilling board game session.

Right after seeing this film, many will solely talk about the ending, which is both the weakest and strongest aspect of the movie. It’s strong when it comes to ambition and unbridled entertainment, but it ultimately holds the film back from being one cohesive narrative. There’s something to be said of a moment being too surreal to work as an ending, even if it’s done well. And there’s something about the tail end of the final act that doesn’t feel quite right when held up against the rest of what is otherwise a killer experience.

Grade: B+

10 cloverfield lane review

Extra Credits:

  • This is a movie that I think a lot of people (including myself) will love in spite of its flaws. It’s just so tightly written and full of big moments that stick with you long after the credits.
  • This is a fantastic directorial debut for Dan Trachtenberg. Granted, he had a lot of help from J.J. Abrams and it shows, but I’m definitely excited for his sophomore attempt.
  • There’s a reason John Goodman’s “Howard” is written so well. Damien Chazelle from Whiplash (my favorite movie of 2014) co-wrote the screenplay along with Josh Campbell and Matthew Stuecken.
  • Finally, Mary Elizabeth Winstead is getting great roles again. She’s one of the most underutilized talents period. In this film, she goes toe to toe with John Goodman at his best and doesn’t bat an eye.
  • Speaking of Goodman, I haven’t had this much fun watching him onscreen since his stint on Community. Or even Big Lebowski. At his age, it’s great he’s still delivering superb performances.
  • Ah, the mystery box strikes again.

 

Review: ‘The Hunger Games — Mockingjay, Part 2’

hunger games mockingjay review

Directed by Francis Lawrence, Mockingjay, Part 2 is the fourth and final installment of the The Hunger Games movie franchise, which kicked off in 2012.

I’ve read all three books by Suzanne Collins, but I happen to prefer the film adaptations made by Lionsgate. I think the books were incredibly flawed, both with tone and how certain plot lines lined up. The movies share some of the problems, but they also fix a lot of issues I had with Mockingjay, which was the third and in my opinion, weakest book.

Of course, this is the second half of a two-parter, and certainly the stronger entry compared to last year’s Mockingjay, Part 1. A lot of the complaints I had for that last movie was how painfully slow it was trying to stretch half of a short book into two hours. But if you stuck with MP1, then you’re going to feel satisfaction after MP2, which is pretty much all action and climax.

A lot of things work in MP2 that have worked throughout all of these movies. The locations are beautiful, the camerawork is nearly flawless, and there are brushes of wow-moments and creativity that set this story apart from other dystopia offerings. At this point, Panem feels like a real place with believable characters, and this movie excels with its incredible supporting cast, including the late Philip Seymour Hoffman.

hunger games mockingjay review

But a major weakness in MP2 happens to be the under-utilization of these side characters, who are quite literally brushed to the side in favor of Katniss and her friends. And while I love what Jennifer Lawerence has done with this character overall throughout the series, I can’t help but feel a little underwhelmed with her character’s arc, which is really a criticism toward the books.

In MP2, the story is that Katniss is more of a mythical symbol, rather than a dynamic force who can create real change. And the entire movie is her struggle against the leaders of the rebellion that she can do more than just rally the troops with some propaganda videos. But her singular drive to assassinate Snow eventually becomes tiring, especially as her allies drop like flies, perhaps needlessly.

That’s the point, I suppose. And the highest praise I can give MP2 is how brazen it is with its themes, presenting the rebellion as evil and asking real questions about how war can undermine the good intentions behind a movement. You forget quickly that only two movies ago, the Capitol was perceived as an unstoppable force, mercilessly killing any opposition. By the end of MP2, you’ll wonder what it was all for, and that’s an achievement for a movie aimed at the young adult audience.

hunger games mockingly review

Grade: B+

Paired with Part 1, this is a satisfying conclusion in more ways than one, because it manages to elevate was a disappointing book for many fans like myself. The performances are solid, if not a little underused, and not a moment of it is boring.

For a more in-depth look at this movie, come back this Sunday for the Now Conspiring podcast, where we’ll discuss this and other new releases.

I’m Jon and thanks for reading this. You can subscribe to my posts by clicking “Follow” in the right sidebar. Or just say hey on Twitter! @JonNegroni

‘The Witcher’ Could Be Hollywood’s Next Billion Dollar Franchise

the witcher franchise

Adapting movies from video games is no easy thing. It sparks fear and discord among burned Hollywood executives who’ve had to throw money in the trash for Super Mario, the Prince of Persia, and Hitman (and possibly again with Agent 47). Why would The Witcher be any different?

This is a recent post I published on Moviepilot concerning the future of The Witcher, a popular series of video games adapted from short stories and novels written by Andrzej Sapkowski. In it, I give a crash course on what The Witcher is, where it came from, and where it’s likely going.

Needless to say, I think this franchise is gearing up for a massive release across mediums. And we should all take notice.