'Supergirl' A Review

Supergirl is a superhero movie about the titular hero Kara Zor-El(Milly Alcock) as she deals with the grief of losing her family and planet(shown through flashbacks) as well as facing off with a cyborg gang of slavers who have poisoned her dog.

Alcock is perfectly cast- she's funny, charming, handles the action with élan, and conveys her emotional arch with a realism and poignancy this genre typically doesn't bother with. The supporting cast is uneven- Eve Ridley as Ruthye really struggles mostly a fault of the script which pretty much reduces her to a plot device, Matthias Schoenaerts as the heavy is two-dimensionally evil but doesn't seem to have any actual personality or motivation, Jason Momoa as Lobo as wonderful and under used, David Krumholtz and Emily Beecham are really excellent and effecting as Kara's parents but the flashbacks are truncated.

Visually the movie has a lot of cool planets and backdrops and embellishments but there's not enough action and the fight sequences that there are it's hard to see what Kara is actually doing. The script is derivative it starts off John Wick(bafflingly sidelining Krypto one of the breakout stars of last year's Superman) then makes it's way to Mad Max: Fury Road as Kara faces off against the gang enslaving women as their 'brides'. The influence is so transparent it comes across as derivative. Ultimately it's just overly plotted and doesn't seem to realize the potential star at it's center Alcock, she doesn't need the multiple McGuffins in order to shoulder the movie, in fact all the add-on's and convulsions detract from what she's doing.

An incredible lead weighted down by the classic studio exec misconception: more plot = better movie. Still, worth it for Alcock alone.

Currently in theaters.

Rent It.

'Jackass: Best and Last' A Review

Jackass: Best and Last is a reality comedy, the fifth feature arising from the stunt/prank MTV show.

Jackass Forever came out in 2022, in the latter days of the pandemic with a fervor and necessity, revisiting the gang at that time(with all new stunts and gags) felt if not revelatory by any means but vital in some odd way- if Knoxville and the gang can continue so can we- it also elicited, bizarrely, a nostalgia for a simpler better time. Here, it's great to see everyone, a lot of the new gags are poop and butt centric which is pretty gross(no shade on them as they all probably have CTE) but there is no captivating stunt set piece and most of the bits aren't particularly physical in nature. The footage is also probably about half or more archival footage. This is more a greatest hits, a victory lap(not undeserved), rather than a new creative endeavor.

Which is all well and good. It's a relatively fun watch particularly in a theater with a decent sized audience. However it doesn't have the same urgency as it's predecessor or the experimentation of Bad Grandpa. It's a coda.

Currently in theaters.

Stream It.

Summer Solstice

Are we reminded
of the certainty
of change

the ever vacillating day

a reflection

of our own struggles

the crashing storms

an expression

of our own yearning

the heat in its comfort

a recollection

of past pleasures

on the precipice

of season

are we most attuned

'Solo Mio' A Review

Solo Mio is a romcom about Matt(Kevin James) an American school teacher who is left at the alter during his destination wedding in Rome. He remains on his honeymoon tour group as he can't get a refund and befriends the other couples as well as a local cafe owner Gia(Nicole Grimaudo).

James is his typical charming self and Girmaudo is captivating and the two have good chemistry. Both Alyson Hannigan and Kim Coates are effervescent and funny as one of the couples that Matt connects with. And the rest of the supporting cast are all pretty fun, the tone is all very light and breezy. It is noticeable that both of the men in the couples noted above are 15+ years older than their counterparts.

The camerawork is relatively conventional but the on location shooting makes up for any lack of visual finesse. It's a beautiful place and they let Rome speak for itself. The score is effective if a bit syrupy. The plot is pleasing, somewhat predictable, and kind of positions Gia not necessarily as a manic pixie dream girl but certainly as a very convenient balm for Matt. Even so, in a time where few romcoms are being made and even fewer are being released theatrically this is nice enough.

A sweet if conventional romcom for the middle-aged.

Currently available to rent on most VOD platforms.

Rent It.

 

'The Furious' A Review

The Furious is a martial arts action movie set in an unspecified Southeast Asian city about a father Wang Wei(Xie Miao) and journalist Navin(Joe Taslim) who go after a human trafficking ring to find their missing daughter and wife(respectively).

Reminiscent of Taken, there is relatively little in the way of plot but quite a lot of compelling, intricate action. Miao and Taslim are decent actors, they give the story the necessary emotional weight, but it is their physical performances that really shine which is in keeping with the genre. What's more surprising than how good the action is(that's kind of expected) is how funny and goofy some of it is. With a conceit as dour as child slavery the pops of humor and over-the-top almost Looney Toons style physicality is much needed and balances the darkness of the subject matter to make this, if not quite a romp, kind of shockingly fun and tonally complex.

A relatively rote premise is elevated by inspired fight choreography and a streak of gleeful dark humor.

Currently in theaters.

See It.

You Get What You Get

We are all fallible
imperfect
that is to say
human
the solace
of this fact
is found
in fellowship

'Miss You, Love You' A Review

Miss You, Love You is a drama that follows Diane(Allison Janney) in the wake of her second husband's passing, her semi-estranged son Tyler sends his assistant Jamie(Andrew Rannells) to help her make arrangements.

Janney and Rannells are marvelous actors and they have chemistry but they are smothered by the pages and pages of overwrought and overwritten dialogue. The premise sounds like an elevator pitch for a comedy but this attempts to not only be dramatic but deep. The problem being Diane's seemingly only way to deal with grief is cruelty, regardless of how 'true' this may be to life it makes for a punishing watch particular given the movie is staged like a play. The off-screen Tyler looms large both in his estrangement with his mom(who's history, when reveled is laughably pedestrian) as well as Rannells romantic feelings towards him. But he's off screen! So much of this movie is taken up with a character who isn't there and doesn't appear! And the behaviors that both but particular Diane engage in are immature and petulant, as good as Janney is she can't make the shallow character compelling.

As much as I loved The Way Way Back writer/director Jim Rash puts up a stunning miss here. An investigation of grief without insight, a living room drama populated by cliches and cruelty rather than humanity.

Currently streaming on HBO Max.

Don't See It.