Good Boys
From the creative team of Superbad, comes another raunchy studio comedy. Good Boys follows the scandalous adventures of three sixth grade boys.
If you are already a fan of films in the same repertoire as Superbad, you will definitely get a kick out of this one. Even for those who find the profane humour in Superbad intolerable, Good Boys will be a slightly more digestible alternative thanks to the delivery of its much more likable young cast. Leading the charge of the Beanbag Boys is Jacob Tremblay, who starred opposite Brie Larson in the 2015 Room. While Tremblay continues to shine just as bright as he did in his breakout role, it is Keith L. Williams’ Lucas who indisputably steals the show here.
The over-reliance of vulgarity is almost an inescapable flaw of every comedy in the same vein as Good Boys. As the shock value provided by the juxtaposition of crude r-rated jokes and the innocence of sixth graders wanes, the film starts to feel like a prolonged and gimmicky comedy skit. Other than the trope of “kids acting like adults”, there really isn’t enough material to sustain an entire arc or to make the world of this story feels lived in. In this case, Good Boys leaves a lot to be desired because we know from this year’s Booksmart that it is absolutely possible to maintain the outrageousness of it all and still leave room for the more delicate storytelling moments. •
Good Boys is a solid fun time if you enjoy watching sweet and mischievous kids cussing and getting themselves involved in taboo scenarios. It just doesn’t quite reach its full potential to make a lasting impression.
(Originally 8 Sep 2019 @projectunwrapped)
Toy Story 4
Back when Toy Story 4 was first announced, it was met with a considerable amount of disappointment. Such skepticism is perhaps legitimate, given that the last time the studio revisited the world of a beloved classic resulted in the forgettable Incredibles 2. Yet, despite the hesitation that a new installment may tarnish the perfectly wrapped-up trilogy, Toy Story 4 turns out to be a worthy story to tell.
There is a big difference between family-friendly films and family films. The former refers to films that is functionable enough to pacify kids for 90 minutes or so, whereas the latter refers to films that universally appeal to, and often inspires, their audiences regardless of their age. Toy Story 4 clearly belongs to the latter repertoire where it pushes the boundaries of what so-called “kids animation” can be.
In Toy Story 4, Pixar has stayed true to its commitment to innovation, something that is imbued in the DNA of most of the studios’ films. On the surface, the Toy Story films work as a metaphor to teach kids to cherish their possessions but we know the series has never been just about that. It creates a space where old meets new and explores how the two clashes to challenge the very existential part of ourselves. It uses the characters’ journeys to pose difficult questions about abandonment and belonging — what are we when we become dispensable? How do we move on with our past trailing behind us?
While previous installments all share a laser focus on identity, Toy Story 4 provides the most profound answer by far. Toy Story 4 signifies a period of essential transition. As a continuation of story arcs spanning across two decades, Toy Story 4 is a reminder that we are always allowed to rediscover ourselves and find new purposes. One might even interpret this as Pixar’s answer to its own transition in creative and executive power after the disgraceful departure of John Lasseter. In that case, Toy Story 4 tells us that a newer and more promising era is to come.
Toy Story 4 is an ambitious film that will take its audience to infinity and beyond.
(Originally posted on 9 July 2019 @projectunwrapped)
Spider-Man: Far From Home
The web-slinging hero returns after the MCU milestone Avengers: Endgame, putting the final puzzle piece of the 23-film Infinity Saga into place.
The release strategy is pretty much in the same vein as how the first Ant-man was released after Avengers: Age of Ultron as a palette cleanser. As expected, Watts followed closely the blueprint of meta-humour that was established in Spider-Man’s last solo endeavour. As far as the story goes though, the results are a mixed bag. The much anticipated antagonist Mysterio is captivating the moment he arrived but falls short due to an awkwardly handled twist. Through his character, the film offers insights into the MCU post-Endgame and ties his motivations with moral issues brought on by technology. The MCU has done so brilliantly before (à la Captain America: The Winter Soldier), and we see a glimmer of that happening in Far From Home. Sadly, the philosophical discourse here often has to make way for flashy action sequences. And because of a muddled second act, we aren’t really sure how Peter learn his lesson, we should simply be satisfied with knowing that he did.
The most glaring problem with this iteration of the Spider-Man/Peter Parker character in the MCU is that even as a top tier character of all comic book history, he is still playing second fiddle to Iron Man who was at best a B-list superhero prior to the MCU. With Far From Home, I was ready to see MCU Spidey be free from the crutch of Tony Stark. Instead, with him wearing Tony’s glasses, playing around with Stark technology, and even picking up Tony’s mannerisms, it only intensifies the concerns that this Spider-Man is simply Iron Man Jr. To retain his pseudo-family dynamics with the Iron Man characters, they even squeezed in an inconsequential romance between Happy and Aunt May. Having said that, Holland’s impeccable portrayal of the character is admirable. Plus, we get to watch Holland’s Peter and Zendaya’s MJ fall in love with each other.
As a fan of the character and Holland’s portrayal, I don’t want to see him as the shadow of a ghost, I would much rather see Peter Parker stand on his own like he has many times before.
(Originally posted on 29 June 2019 @projectunwrapped)
Parasite
With a series of drab blockbusters underperforming in critics’ and audience’s word of mouth, Director Boon Joon-ho has come to our rescue with a near-perfect masterpiece in Parasite.
The Palme d’Or winning film centers on a poverty-stricken family of four living in a basement. The four trick their ways into working for an obscenely rich family. Their sly get-rich-quick schemes soon fall apart as they unlock an unforeseeable danger which threatens to consume their lives.
Boon Joon-ho is no rookie in dealing with matters concerning class inequality and the grotesque greed of the upper class, as seen in his Dystopian thriller Snowpiercer. Despite the similar themes, Parasite manages to be so much more than just “Snowpiercer without the sci-fi elements”. Even with a grounded reality built into Parasite, it still feels like a massive undertaking in terms of its tone shifts, emotional resonance and social engagement. Boon’s sensibility and skillfulness in melding all the tones here is nothing less than a stroke of genius. Parasite begins like any other dramedy with an ironic and comedic touch. With the help of the likeable ensemble of characters, audiences are immediately lured into a false sense of security right from the start. In revealing the twists and turns, Boon borrowed classic techniques seen in horror and action films that enhance the immersive experience. As it draws to an end, the rightful anger that is seeping through the shots will take you apart like a gut-wrenching punch to the heart. But Boon, being as ambitious as he is, seems to think that even marrying humour and anger together flawlessly runs the risk of trivializing the issues at hand. As the family muses drunkenly about their future plans, their hopes of overcoming their disadvantage are devastatingly materialises into a sense of wistfulness and a longing that, we know, will never be fulfilled. This is exactly where Boon’s gentle and contemplative touch comes through and shines.
As the half-year mark approaches, it might indeed be too early to give out the title of “best film of the year” but Boon’s Parasite might just be the film for us to break the rule.
(Originally posted on 25 June 2019 @projectunwrapped)
Rocketman
After their initial collaboration in the sports biopic Eddie the Eagle, Director Dexter Fletcher forges his cinematic partnership with actor Taron Egerton ahead to capture yet another extraordinary figure of the world, Elton John.
The resurgence of the musical genre over the last few years has introduced an array of real and fictional music personalities to the big screen treatment — some remarkable and some less. Critics and audiences have surely made their complaints of the genre’s garden-variety entries — “if you’ve seen one, you’ve seen them all” — known. In the case of Rocketman, audiences can rest assure that Fletcher and Egerton have wasted no time to put their own mark on the genre.
In Rocketman, every swirl and sweep of the camera, every uproarious dance move and every melodic tune come together splendidly make a bona fide of a film to respectfully honour its inspiration. Even with Elton John’s personal stamp of approval and producing role, the film does not feel like a watered down version of the real story which serves as a testament to Fletcher’s directorial instincts. Fletcher makes no attempt to shy away from the singer’s sexuality and addiction struggles. Still, the triumphant moments roar just as intensely to dazzle its audience and to counteract the darkness. In this character-centric piece, the centerpiece of the film is rightfully the inspired casting of Egerton who not only oozes charisma and talent every second he is on screen but also in the recording studio belting out every note. Egerton is clearly aware of the responsibilities in delivering a career-defining performance in this career-defining role.
Rocketman firmly stands as one of the more noteworthy efforts among its peers within the genre. It’s a must-see for all Elton John fans and even casual filmgoers, and if Fletcher and Egerton want to team up again in the future, you will hear no complaints from me.
(Originally posted on 24 June 2019 @projectunwrapped)