From when it was initially announced with Michael Mann at the helm, the idea of a movie which traced Ford’s intention to beat Ferrari at Le Mans seems like a film that might have trouble relating. But the universality of underdog stories plus such enhanced technology both to capture and digital integrate elements of the racing are better than they have ever been. This is why when director James Mangold finally got to make the movie he understood that the core was the push and pull between Carol Shelby and Ken Miles and how much they kinetically needed one another. While it takes a couple scenes to get what the dynamic is going to be, it is truly Christian Bale’s brilliance that comes together. Unlike certain more sleazy or perhaps characters on a moral precipice, here he plays a character which is utterly charming with a chip on his shoulder and yet wants to be both a provider against his bigger ego. It is a hard part to play but the reason it works is that around the second third of the movie you get to just watch him as things seem to de-materialize. The backgrounds especially of what is supposed to be LAX are stark even if they weren’t possibly shot there. One scene shot at dusk is beautiful, simple and almost shot with natural light yet Bale’s acting seems relaxed. Very difficult to pull off and yet it seems very smooth.
Matt Damon has to do more of the heavily lifting and despite his utter competency as an actor he can never quite disappear. His balance of the politics and creativity within Shelby is the fuel that keeps the plot moving. It is the less showy part but nonetheless crucial. Not since, to a lesser point actually, “Days Of Thunder” has there been both the nature of life in design and on the track that feels so organic. But neither Bale or Damon try to overwhelm a scene like Cruise would. Even the story beats which obviously reflect real life have a relativity to them so you can see one action reflect another. While characters like Enzo Ferrari and Henry Ford II have their parts to play, others have definite possibility while others grind a little bit. The actor who plays Lea Iaccoca has the efficiency of knowing the balance and plays the part with elegance while Josh Lucas in his first big film in years adequately hits his notes but could have instilled more bravado. There seems no heart to his decisions. Even someone trying to save their own job is not so one-dimensional. But this is a small discrepancy in what it is an extremely effective film.
The racing scenes, and even more specifically, the training scenes where Bale’s Ken is helping Damon’s Shelby make the car better just makes the film sing. But that pacing is essential especially when it gets to Le Mans. This is something you can’t do in say “Speed Racer”. Bale’s character, at one point when he is racing at Le Mans, has an moment of enlightenment but it is wrapped in a sense of both ego and humility at the same time. That is stakes and heart on the line. Ultimately that is where cinema connects. And “Ford V. Ferrari” has it.
By Tim Wassberg
The essence of the X-Men mythology has placed it with some ideals of archetypes but, with some of the actors involved, the texture of nuance is always an interesting progression in what is embraced and what is shown below the surface. This reviewer did interviews for “X-Men: The Last Stand” back in the last iteration of the cast before “First Class” but also visited the set of “X-Men: Apocalypse”. With “The Last Stand”, the approach involved the aspect of Jean Grey as well. However unlike Famke Jannsen’s iteration, there seems a times a lack of stakes or perhaps disconnection from Sophie Turner’s inhabiting of the character, much in the way of Captain Marvel in “Endgame”: she is so indestructible that the balance of her take down is somewhat like ants trying to destroy gods . That said, this installment is the most engrossing since “First Class”. The inclusion of Jennifer Lawrence works simply because of the structure of what it is setting up and that allows in true form the most connective tissue that motivates all the characters. Whether it be Tye Sheridan’s Psyclops or in a more pronounced fashion Beast played by Nicolas Hoult, “Dark Phoenix” has some more true acting from these performers because the entire proceeding is not overtaken by visual effects unlike some of the iterations before. It comes off more practical.
Also the characters, even more so, seem to engage in their baser desires at times which makes them more fully realized. Michael Fassbender’s Magneto seems both more conflicted but also at times more brutal than before. When he emerges in terms of his focus, it is interesting because it you can see him fighting against his own instincts (even though his character comes off more as supporting). James McAvoy as Professor X also has a more dynamic approach because his character is not the all wise. He makes mistakes and ego plays a part in this outing. These are superheroes but they are flawed and that is what this picture is allowing (perhaps in a darker way than perhaps Disney would approach it at a different time). Even Nightcrawler becomes brutal in a way not seen since “X2” when he was on the opposite viewpoint. That said, the story timing conversely is, at times, erratic. However this does not take away from the emotional notes. What scattershots the beats is Jessica Chastain and her minions. Chastain is on point in terms of her performance but there is not a reflective basis of her motivation. Her character’s origins are left to the ether which works to a point but not in the final revelation. “Dark Phoenix” in a great way handles many emotional beats in a way far superior to some of its predecessors thanks in part to director Simon Kinsberg who understands this mythology and the characters through and through. But endings, especially of an era, never are clean. They are messy. “Endgame” tried to do everything and reflected emotional but many plot holes still remained. “Dark Phoenix” writes a different story than the one previous to “The Last Stand” but in doing some creates something more contextual even if the final shot reflects a vague contentment.
By Tim Wassberg
The mixture of James Cameron and Robert Rodriguez definitely has a great angle to it. “Alita: Battle Angel” was a title heard years ago and moved around as myth actually for a time. Harrison Ford was attached per se at one point. This story of stories that Cameron had developed for years actually was something Rodriguez told Inside Reel in a Fest Track interview at SxSW in March 2018. Reading the first 3 volumes before talking with producer Jon Landau as well as leads Rosa Salazar & Keaan Johnson in Austin (see their Fest Track interview here), gave a good perception of the structure but what is one to say between an anime/graphic novel that was written many years ago versus the ideals of the actual script (which having been co-written by James Cameron definitely should retain his story sense). What “Alita: Battle Angel” does very well is keep itself focused. The one true balance that stays pretty crisp and clear throughout the film is Rosa Salazar as Alita. Many may think that it is simply a computer performance but that could not put the sense of innocence, anger and breathe in what is seen here. Granted it is not Andy Serkis but who can compete on that level. What Rosa brings is a soul to this girl who was originally built as a killing machine. Salazar has been missing in part from many of the media rounds per se (in large part) but that might be better so the character simply exists on her own. Rodriguez’s touch is here for sure but it is sometimes lost in the bigger sequences. Oddly enough, this reviewer kept seeing “Speed Racer” in the race sequences per se. They are good but at a certain point are more video game oriented.
The character build even though it takes a while in the beginning does the film correctly but there is no “a-ha” moment. The scene though where Alita first tries her new body with fighting moves shows a path to identity and the sequence inside a bar (a very visceral scene in the graphic novel) definitely comes to life. The reason why is that all the characters in there are so unique. It makes one think of “From Dusk Till Dawn”. What seems to be missing is some of Robert’s camera tricks and stylistic touches although to be fair Rodriguez did mention in that same interview that this was not him doing a Robert Rodriguez film but instead doing a Jim Cameron film. So in that respect it does work, the script is tight, the visuals are fluid and it does its job. It is fun to watch but it is not spectacular. There is never quite a moment where Alita becomes the chosen one or that her love against her own life will ring out. One scene inside the apartment of Hugo (played by Johnson) comes close and really makes the CG of Rosa as a cyborg really key into the story. The climax, like most, has to serve a story point and that is understandable. Christoph Waltz does an admirable job as the Doc and Jennifer Connelly & Mahershala Ali do their part within the structure but Ed Skrein as a competitor is the only one who brings an edge to the proceedings. Here is hoping “Alita” connects to the audience because unlike many recent popcorn films, it understands the concept of a beginning, middle and end within a true story arc. But it is in the silent moments, when you can hear the acting, that make the most impact. One simple act of Alita laying her head on her father’s shoulder has almost more power than a large action sequence. But that said, one does not exist in the large scale, big budget film without the other.
By Tim Wassberg
The search of identity or the strength within it plays to the crux of most YA novels, especially those set in an almost apocalyptic world. “The Darkest Minds” in its marketing seemed to play to more of an “X-Men” vibe but it is quite the opposite. It is more a romance mixed with a coming-of-age drama. That is not to say it isn’t sure of itself. It owes more to elements of “Hunger Games” and “Maze Runner” than to “X-Men”. The storyline and, by extent, the acting, considering it is all young actors, comes from more of a place of maturity than one would expect. This obviously comes from the grounding of Alexandra Bracken’s novel. Having spoke to her for this interview earlier in the week, the idea of “The Darkest Minds”, she explained, came after 9/11 when she was in high school, that idea of what is the right path to take, what action is possible. Amandla Stenberg plays Ruby, the reluctant hero of “Minds” and, like Jennifer Lawrence’s Katniss, finds her power through sacrifice. Stenberg achieves in a way what “A Wrinkle In Time” could not. “The Darkest Minds” is about the power of youth but not, by pretending, they are the true leads. Certain actors like Mandy Moore here as a doctor with a fringe outfit called “The League” has just enough presence to make it work as does Gwendolyn Christie as a bounty hunter. They provide moral and psychological choices for the protagonist which allow her to grow as a character.
What the film itself owes to more than anything, without spoiling anything, is to “Superman”, specifically “II” simply in Clark Kent/Superman understanding the need for a greater good within elements of pain. Two scenes, including one in foreshadowing, give Ruby’s journey a weight that many of the other YA adaptations have lacked. Now granted, this can go awry as the series (should this one be successful) goes on. The smart idea, like the first “Maze Runner”, is that this movie was made for a price which allows it to breathe a bit while not sacrificing its pacing. It is not a perfect movie by any means. The villain quotient pays more than an interesting parallel in certain ways to “The Hunger Games”. However the elegant, if that word can be used, aspect of this kind of storytelling is that it takes into case bigger themes and archetypes at play. While mind control plays a part, there are no cell phones anywhere in this movie which is an interesting observation overall as well. The only red herring of the film is inherent in its set up which is the “why” aspect in terms of what causes the children to change. This suspension of disbelief is necessary and inherent to make the movie work but its structure and basis is nonetheless elusive creating a slight hole is what is otherwise a solidly made film.
By Tim Wassberg