Justice League

JUSTICE LEAGUE (Zack Snyder, 2017)

Superman (Henry Cavill) is dead, and a villain too strong for any other superhero to stop threatens to destroy the planet in JUSTICE LEAGUE. Thousands of years ago a coalition of gods, superheroes, and humans defeated Steppenwolf (Ciarán Hinds). Different parts of the alliance were responsible for hiding and protecting three cubes, but the Mother Boxes are no longer dormant. Their awakening draws Steppenwolf’s return to Earth so he can find and unify the Mother Boxes in his quest for immense power.

Batman (Ben Affleck) and Wonder Woman (Gal Gadot) know that they need assistance in stopping the pending apocalypse. Bruce Wayne’s search for other superheroes to join the team leads him to Barry Allen (Ezra Miller), a university student known as The Flash for his superhuman speed, and Arthur Curry (Jason Momoa), whose Atlantean heritage and abilities pertaining to water cause him to go by Aquaman. Diana Prince works on bringing into the fold Victor Stone (Ray Fisher), a former athletic star referred to as Cyborg because of his post-accident cybernetic reconstruction.

JUSTICE LEAGUE is the DC Extended Universe’s equivalent of the Marvel Cinematic Universe’s THE AVENGERS. While online fandoms engage in heated battles regarding which is superior, such distinctions seem increasingly silly when the two AVENGERS films and JUSTICE LEAGUE share Joss Whedon as a creative force behind both. As viewers it’s impossible to know how much influence Whedon wielded on the final theatrical version of JUSTICE LEAGUE, as he was brought in for reshoots and post-production while director Zack Snyder took time off to deal with family tragedy. Nevertheless, the comedic sensibility and overall lighter feel, especially in comparison to the brooding verging on nihilistic DC films, seem attributable to Whedon, who gets a co-screenwriter credit with Chris Terrio. It’s a solid comic book-like joke when The Flash pushes a few people in a truck to safety and then looks to see that Superman has relocated an entire building.

Although JUSTICE LEAGUE isn’t as oppressive in tone or visual palette--this film looks notably brighter and more colorful than BATMAN V SUPERMAN: DAWN OF JUSTICE--it has the personality of an instruction manual. This is a schematic assembly more than a story, and the lengthy build-up culminates in a third act battle that, like many of its superhero film predecessors, can seem interminable and less consequential because it’s simply a stepping stone to the next three years of sequels. JUSTICE LEAGUE can stand as a self-contained film, but it plays as an enormously expensive TV episode.

Gadot remains the best thing about the current DC films. While her character is an immortal, she brings the humanity lacking amid the noise and darkness. Miller’s Flash provides winning comic relief. Still, with so many superheroes to devote time to, not to mention their primary task, JUSTICE LEAGUE doesn’t accrue a lot of valuable character moments so much as it teases what you can get when each returns to their individual showcases.

Grade: C

Spider-Man: Homecoming

SPIDER-MAN: HOMECOMING (Jon Watts, 2017)

Although Peter Parker (Tom Holland) tries to balance life as a high school student and a superhero in SPIDER-MAN: HOMECOMING, naturally he’s drawn more to fighting crime and being a beloved part of the community. To his frustration, Tony Stark (Robert Downey Jr.) cautions him about getting too involved in such extracurricular activities, although he does provide him with an improved suit. After a night patrolling the neighborhood, Peter’s best friend Ned (Jacob Batalon) learns that he is Spider-Man, a fact that delights him to no end.

Peter stumbles upon the shady dealings of Adrian Toomes (Michael Keaton), a former salvager now using and dealing alien technology to enrich himself and his associates. While Tony doesn’t want Peter to pursue the matter, he can’t help but investigate, which puts him and and his classmates at risk.

SPIDER-MAN: HOMECOMING brings more of the traditional comic book sensibility back to the superhero universe. Director Jon Watts, one of six credited screenwriters, constructs the film like a teen movie with some regular people possessing extraordinary powers than something rooted in the realm of fantasy. Doing so grounds SPIDER-MAN: HOMECOMING and gives it a touch of wonder at the incredible feats the heroes and villains perform. Watts also suffuses this SPIDER-MAN with a breezier tone that gooses the humor, particularly in the scenes with Peter’s high school peers, and makes the protagonist and his struggles more down to earth.

Holland exudes a lot of charm in his first time playing the ordinary teenager turned webslinger. He imparts Peter with infectious enthusiasm, which he tempers with the insecurity and desire to push limits that are a hallmark of adolescence. He is confident scrambling up the Washington Monument but less sure of himself when it comes to asking his academic decathlon teammate Liz (Laura Harrier) to the dance. Holland lends a dancer’s grace to the physicality with which he plays Peter and Spider-Man, which reinforces the joy that buzzes through the film.

SPIDER-MAN: HOMECOMING surrounds Peter with a splendid supporting cast. Batalon is funny and endearing as the pal who is excited for Peter and at the prospect that he might be able to be his assistant, the proverbial guy in the room in action movies. As wisecracking classmate Michelle, Zendaya often gets some of the biggest laughs from the withering way she expresses herself. Harrier adds depth to the potentially thankless love interest role as she evokes the complexities in the romance Liz and Peter hesitantly begin.

Keaton fleshes out the antagonist so that his perspective is understandable even if it isn’t justifiable. Adrian’s bruised sense of fairness and need to provide for his family guides him down a darker path that gradually eases him down the moral slippery slope. Keaton lets the character cook in his righteous outrage, like a frog not realizing it’s being boiled as the temperature in the pot slowly increases. For Adrian the outcome is similar as his corruption he gives in to slowly grows.

It doesn’t seem like there are a zillion different things happening in SPIDER-MAN: HOMECOMING or that it absolutely has to fit within a larger framework of the Marvel films. The less convoluted story allows the film to feel fleeter and dig into the character elements. After a string of unsatisfactory SPIDER-MAN movies, it’s a pleasure to encounter one notable for its zippy sense of fun, humor, and thrills.

Grade: B+

The Dark Knight Rises

THE DARK KNIGHT RISES (Christopher Nolan, 2012)

Picking up eight years after Batman (Christian Bale) takes the blame for district attorney Harvey Dent’s misdeeds, THE DARK KNIGHT RISES finds Gotham City free of organized crime.  Batman has vanished from the public eye.  Bruce Wayne has become a recluse in his stately manor.  

When a cat burglar posing as a server steals a pearl necklace and Bruce’s fingerprints from his supposedly uncrackable safe, he’s stirred from his self-imposed seclusion to learn more about and confront the thief named Selina Kyle (Anne Hathaway).  She means him no harm.  Selina is in desperate need of having her identity cleared from all records and is assured she can get it for providing Bruce’s identifying marks.

Selina warns Bruce that bad times are on the horizon for Gotham City.  Indeed. Terrorist leader Bane (Tom Hardy), a beefy brute whose face is mostly covered with what looks like a high tech ball gag, is assembling a small but loyal underground army to foment a revolution that he promises will return the city to the people.  The time has come for Batman to resume his public service.   

Whether it’s the chronological reversal in MEMENTO, the artful trickery in THE PRESTIGE, or dream layering in INCEPTION, Christopher Nolan’s films boast complicated narrative architecture yet lay out detailed blueprints to follow.  The director, who co-wrote THE DARK KNIGHT RISES with brother Jonathan Nolan, is less successful navigating the way through his final Batman trilogy entry.  Perhaps all of the dots in the first two films connect in THE DARK KNIGHT RISES, but grasping the totality of Nolan’s vision is a challenge short of rewatching BATMAN BEGINS, which receives numerous key callbacks.  As these comic book films become more intertwined, whether in their own dense mythology or across a series of franchise movies, the point has been reached where it would be helpful to get a footnote-intensive fact sheet along with the ticket.   

THE DARK KNIGHT RISES isn’t left wanting for ideas and artistic relevance to current events.  The 2008 financial crisis, Occupy Wall Street, government-sponsored torture, tribunals, the surveillance state, and the war on terror are referenced and mirrored in the film’s reality, but these subjects are commented on in such a muddled manner that their inclusions primarily amount to buzzword-dropping rather than cogent commentary. Post-9/11 conflicts are addressed most thoroughly, if unexceptionally.  Where prior Nolan films have resembled elegant mathematical proofs, THE DARK KNIGHT RISES looks like trial-and-error calculations scribbled on a scratch pad.  

Nolan makes the serious miscalculation of hiding the most expressive part of the villain’s face.  Whoever was following Heath Ledger’s Joker in THE DARK KNIGHT was liable to compare poorly among Batman nemeses, but Hardy, limited to his eyes, muscular torso, and voice, doesn’t have a chance to engage in a fair fight.

Hathaway’s Catwoman fares better in that she contributes a welcome dash of humor. As butler Alfred, Michael Caine’s watchful concern for Bruce brings the depth of feeling to an emotionally chilly film.  The opening sequence aboard a CIA extraction flight gone wrong as it attempts to leave Uzbekistan delivers a flashy action setpiece that the remainder of THE DARK KNIGHT RISES, encumbered with scenes of talky exposition, fails to match.  

Shortcomings and all, THE DARK KNIGHT RISES remains a fascinating film, albeit one that suffers from an excess of ambition and deficiency in unifying its objectives with clarity.  Nolan and editor Lee Smith keep the proceedings moving even when it seems as though the film is bogged down in yet another plot payload transfer.  THE DARK KNIGHT RISES builds to a rousing concluding act without the safety net typically assumed with franchise pictures.  Considering its narrative and tonal risks, it’s just disappointing for a filmmaker of Nolan’s caliber to conclude the trilogy with what plays like a bloated middle installment.
 
Grade: C+

Chronicle

CHRONICLE (Josh Trank, 2012)

In CHRONICLE three high school students crawl into a hole in a field one night and find something otherworldly.  Soon thereafter the guys discover that they have developed telekinetic powers.  At first this newfound ability to move things with their minds is something they use on a small scale, like building things with Legos or turning on a leaf blower to blow up their female classmates’ skirts.  Their telekinetic skills increase as they use them, and it isn’t long before they’re moving cars or flying.

Andrew Detmer (Dane DeHaan) is arguably the most talented of the trio and the one who has benefited the most from acquiring superpowers.  With a dying mother and angry, alcoholic father at home and a spot at the bottom of the social ladder at school, Andrew was lonely and miserable.  He was videotaping everything as a way of distracting and protecting himself, even if doing so also brought unwanted attention. His recordings supply most of the “found footage” that comprise CHRONICLE.  In these documents it is easy to see that the intense bond Andrew forms with his cousin Matt Garetty (Alex Russell) and big man on campus Steve Montgomery (Michael B. Jordan) is as meaningful to him as their superhuman gifts.  The weak, unpopular one now feels strong and important.

As Voltaire wrote, and as another superhero film reminds us, with great power comes great responsibility.  Matt suggests that they need to establish some rules for how they use their powers, but Andrew for one has no desire to have any limitations placed on him.

The overwhelming number of superhero films of late and the seemingly limitless ability of CGI have taken some of the wonder out of displays of dazzling feats beyond ordinary human potential.  CHRONICLE restores that thrill through the actions and reactions of three teenage boys who behave like their real life counterparts might. Director Josh Trank and screenwriter Max Landis devote significant time to the guys goofing off.  Their prank-pulling and limit-pushing is not that far removed from what the JACKASS crew might attempt if they had the capability to control objects with their thoughts.

The acclimation to superpowers portion of CHRONICLE is good fun in a particularly adolescent male way, but without any boundaries or check on such power, the outcome is eventually bound to result in ugly consequences.  Andrew’s telekinetic talents greatly exceed his emotional maturity, so he channels his antisocial rage in harmful ways.  CHRONICLE echoes CARRIE and the Columbine shootings as the bullied evolves into the bully, culminating in a spectacular battle in and above downtown Seattle.

Trank employs the found footage construct more to provide a firsthand account than to suggest someone has unearthed and assembled the videos. The casual nature of the teens’ activities and their emotional extremes feel more immediate in this form.  Plus, since Andrew can control the camera with his mind, CHRONICLE can position it anywhere, giving the film the visual freedom that the characters enjoy.

Grade: B

Captain America: The First Avenger

CAPTAIN AMERICA: THE FIRST AVENGER (Joe Johnston, 2011)

In CAPTAIN AMERICA: THE FIRST AVENGER scrawny Steve Rogers (Chris Evans) doggedly attempts to sign up for military service during World War II. His puny stature gets him declared 4-F time and again, but each rejection just makes him try harder on his next recruiting office visit.

Dr. Abraham Erskine (Stanley Tucci) notices Steve’s selflessness and nobility and offers the gung-ho New Yorker a special opportunity to serve his country. The expatriate German scientist has developed a treatment that can transform Steve into a super soldier. Being dosed with the serum and vita-rays will greatly enhance his physical appearance and moral fortitude. Although the procedure is not risk-free, Steve accepts without hesitation.

Despite reaching his full potential through technology, military superiors limit Steve to playing the role of Captain America to promote war bond sales. While on tour to perform for the men fighting on the Italian front, Steve finally gets the chance to prove himself in battle. British officer Peggy Carter (Hayley Atwell) and genius inventor Howard Stark (Dominic Cooper) help him slip away for a daring one-man rescue mission of captured troops.

It’s here that Steve encounters Johann Schmidt (Hugo Weaving), otherwise known as Red Skull. The onetime Nazi commander underwent an earlier and flawed version of Dr. Erskine’s treatment, which has magnified his capacity for evil. Schmidt has designs on taking over the world himself and has split from Hitler to lead HYDRA. Schmidt possesses a powerful cube of the gods called the tesseract and is harnessing its energy to create unbeatable weapons. If Steve is to protect his countrymen and the world as a whole, he must defeat Schmidt.

CAPTAIN AMERICA: THE FIRST AVENGER director Joe Johnston also helmed the retro comic book adventure THE ROCKETEER. Once again he shows a knack for conveying old-fashioned awe and wonder in patriotic service without shifting into jingoism or recruitment ad. Both films feature heroes who are quite square, but the period settings play to the advantage of the characters’ sincerity. By golly, Steve Rogers is going to perform his civic duty however he can. In the era of the tortured superhero in movies, it’s refreshing to come across one with enthusiasm and a pure spirit.

By virtue of his unsullied goodness, Captain America himself is a one-note character, but help is on the way from a strong supporting cast. As Red Skull, Weaving makes an exceptional villain to be feared. The latex mask he wears in the bad guy’s disfigured condition looks exponentially better than the CGI’d GREEN LANTERN character he resembles. Cooper gives the perfect amount of swagger and smarts to the character who will be Iron Man’s dad.

Atwell’s Peggy Carter is more than a romantic prop for the hero. She’s as tough and driven as the boys fighting the good fight, yet she also let down her guard when admiring Steve and being disappointed by him. For as misguided as CAPTAIN AMERICA’s conclusion is, Peggy and Steve’s radio conversation, which echoes Powell and Pressburger’s A MATTER OF LIFE AND DEATH, identifies the human cost that pays for valor.

CAPTAIN AMERICA is the last cinematic piece of the puzzle that will make way for next summer’s superhero extravaganza THE AVENGERS. At times it feels as though CAPTAIN AMERICA suffers because it is a prelude to the blockbuster-to-be. The opening scene not only ruins the potential emotional impact of the climax, but it also gives it away within the first ten minutes. On top of that, the final scene suggests that everything preceding it was merely a long teaser for the admission to be bought next May. Johnston’s fleetly assembled superhero film deserves better, but the botched finish doesn’t undo all the goodwill that CAPTAIN AMERICA earns.

Grade: B-