Video review: "Spider-Man: Into the Spider-Verse"

Apparently, it takes an animated superhero to defeat Disney/Pixar.

I don’t mean to imply that the animation giant from Mouse House is deserving of villain status. Far from it. But they’ve dominated the Academy Awards category for best animated feature and short for a dozen years at least. It was time for new blood.

That’s why I think it’s great that “Spider-Man: Into the Spider-Verse” won the animated Oscar. Aside from simply being the best animated feature film of 2018, it also has a welcome theme about how anybody can find their inner superhero.

The idea is that several alternate universes collide, bringing a half-dozen or so different versions of Spider-Man into this existence. Peter Parker is still around, but as a burnt-out, middle-aged and paunchy version of himself.

The real star is Miles Morales (voice of Shameik Moore), an Afro-Latino teenager who finds himself manifesting the same Spidey powers. Other iterations include a couple of spider-girls, a film noir version (Nicolas Cage) and even a pig version named Spider Ham (John Mulaney).

They’re all battling Kingpin (Liev Schreiber), who’s building some kind of massive collider machine, along with a host of other reimagined Spider-Man foes: Doctor Octopus, Green Goblin, etc.

Told in a cool visual style that feels like flipping through a comic book, this is one new take on a well-worn hero story that’s truly fresh.

Video bonus features are sumptuous. Aside from the lack of a filmmaker commentary audio track, it’s just about the whole hog.

“We Are Spider-Man” is a deep-dive documentary into how anyone can find the hero inside them. “Spider-Verse: A New Dimension” looks at the film’s signature visual style.

Other features focus on the voice actors cast; a tribute to Spidey creators Stan Lee and Steve Ditko; an Easter Egg challenge; character designs; “Alternate Universe Mode” with alternate and deleted scenes; music videos; and an all-new short, “Spider-Ham: Caught In a Ham.”

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Review: "Spider-Man: Into the Spider-Verse

One thing I don’t get: why does the new Spider-Man wear sneakers? Wouldn’t that mess up his ability to stick to walls and such?

Oh, well. If that’s the worst complaint one has about “Spider-Man: Into the Spider-Verse,” the retconned spinoff of the Spidey franchise, they’re doing alright.

After all, this is a story that brings in a half-dozen or so Spider-people from other dimensions, all battling their common nemesis, Kingpin. One’s even a pig in a miniature version of the iconic red-and-blue outfit named Peter Porker.

I wasn’t sure how I would feel about yet another version of Spider-Man, with yet another actor inhabiting the role. And an animated film would make it seem too much like a TV show, I feared.

What the filmmakers have delivered is an incredibly fast-paced movie that plays like a cinematic version of flipping through a comic book, with inset images and freeze frames intruding upon the normal imagery. It seems aimed at older kids (age 8 and up, I’d guess), though it’s an enjoyable experience the whole family can enjoy.

The notion here is that in our universe, Spider-Man/Peter Parker is killed by Kingpin (voice of Liev Schreiber) at age 26 after 10 years wearing the costume. This is witnessed by Miles Morales (Shameik Moore), a gawky Afro-Latino teen who has just been bitten by a radioactive spider himself and started to exhibit the same powers.

Kingpin had been building a massive collider device to breach dimensions, and as a result of the experiment several other versions of Spider-Man are sucked into Miles’ reality. They range from the creepy to the comedic, starting with Spider-Ham (John Mulaney), the aforementioned porcine knockoff. Nicolas Cage does the voice of Spider-Man Noir, who is from the 1930s and wears a trench coat and fedora hat, and even is rendered in black-and-white.

There’s even two females: Gwen Stacy/Spider-Girl (Hailee Steinfeld), who wears a cool white costume, and Peni Parker (Kimiko Glenn), a Japanese girl from a distant future who wasn’t actually bitten by the spider, but instead became friends and together they battle crime in a spider-robot.

The first one Miles runs into is a version of Peter Parker (Jake Johnson) who’s pretty close to the “normal” one, except life hasn’t gone so well for him. He’s about 40 years old, graying and a bit paunchy, divorced from Mary Jane and only fighting crime sporadically, mostly just handing his apartment eating pizza and feeling sorry for himself.

Miles forms a bond with this Peter, who after some kvetching is eventually persuaded to act as a sort of mentor/teacher. He helps Miles bone up on the Spidey powers, as well as discovering a couple Miles has that he doesn’t: the ability to turn invisible and emit electrical charges through his hands.

I liked the colorful, perspective-bending look of the movie, which combines elements of German Expressionism, steampunk, Japanese anime and probably a few others. The film was directed by Bob Persichetti, Peter Ramsey and Rodney Rothman, the latter of whom also co-wrote the script with Phil Lord (“The Lego Movie”).

For example, Kingpin is so big that his head appears on the front of his massive body, a few feet below his shoulders. Green Goblin is reimagined as a reptilian titan, and Doctor Octopus (Kathryn Hann) is a woman who sort of resembles Professor Trelawney from the Hatter Potter movies, less ditzy and more diabolical.

“Spider-Man: Into the Spider-Verse” takes a Cuisinart to the hero’s mythology, cutting everything up into bits and reassembling the pieces into other configurations. It’s a lot of fun, even if I still don’t get the shoes.

Review: "The Edge of Seventeen"

We see a lot of teenagers in the movies, but it’s almost always an ersatz version. They’re much smarter, braver, more beautiful and interesting than real teens. Not to mention, they’re generally played by actors ranging from mid-20s up to nearly AARP.

The last time I spotted a zit on the face of a movie teen, I considered it a major triumph.

Audiences are used to the chicanery and understand they’re watching Hollywood Teens, not any honest attempt to depict the real thing. That is what it is, but it does create an emotional disconnect from the people we’re watching.

“The Edge of Seventeen” is a keener and truer take on teendom than we’ve seen in a while.

Hailee Steinfeld -- actually a teenager -- plays Lakewood High School junior Nadine, who has but one friend in the world and trouble connecting to anybody else. Her widowed mother (Kyra Sedgwick) is frazzled and harried, and older brother Darian (Blake Jenner) is handsome, popular and wants nothing to do with Nadine.

Nadine likes to wear weird clothes, trade insults with her burnt-out history teacher, Mr. Bruner (Woody Harrelson), and fantasize about hooking up with local bad boy Nick (Alexander Calvert), whom she’s never even spoken to. She’s dorky, clever, wickedly funny and rather glorious. But she sees herself as awkward and unloved, and that’s a hard feeling to shake.

Things go from bad to worse when her best (really, only) friend, Krista (Haley Lu Richardson), hooks up with brother Darian at a party. After an appropriate freak-out period, she’s willing to abide the episode as a one-off -- but then Darian and Krista decide to make it a permanent thing.

Seeing this as the ultimate betrayal, Nadine launches herself into a vortex of loneliness and increasingly bad behavior. She sees herself as an outcast who’s grown content with her small, stable patch of emotional turf. When that’s yanked away, Nadine feels homeless and alone.

Written and directed by Kelly Fremon Craig, “Seventeen” is narratively unstructured and messy, but it’s also dashingly original and full of juice. The characters behave in a way that’s consistent with their impulses rather than just to further the plot down the road.

Steinfeld is astonishingly frank and vulnerable as Nadine in a way that recalls Molly Ringwald’s better movies with John Hughes. There’s one scene where she’s peeing in a public restroom and suddenly looks up and asks God why he never gave her a break. It’s played for laughs, but also has unexpected poignancy.

Nadine’s relationship with Mr. Bruner also goes sideways from what we expect. Normally a caustic mentor type slowly warms to the youngster, but Harrelson always looks like he’d rather leave the room than bestow advice. Nadine berates him as a balding, lonely loser, and even goes so far as to offer the clichéd outcome herself: “You should date my mother!” But the movie keeps us guessing about him.

I also really liked Hayden Szeto as Erwin, a nerdy kid from school who has a huge crush on Nadine, but tries to play it off as coolly as he can – which is to say, not very much. He’s in many ways Nadine’s perfect male counterpart, trying to fake his way to social status and not fooling anyone. Like her, all he needs is to slow down, do what comes natural and don’t worry about the consequences.

You can pretty much say the same thing about teenager movies in general. Just allow the kids be kids … and maybe let them have a few pimples, too.

Review: "Barely Lethal"

There are a lot of young and charismatic performers in “Barely Lethal,” and I wanted to hug each of them, tell them how talented they are, and comfort them with the knowledge that appearing in this movie won’t ruin their careers.

This teen action/comedy is the sort of forgettable film that you make when you’re breaking into Hollywood and just want to get some credits under your belt. You get a paycheck, learn from the experience, and try to choose better projects from then on.

The strange thing is that many of the people involved are already bona fide names in showbiz.

Hailee Steinfeld, an Oscar nominee for her terrific turn in “True Grit” and part of the “Pitch Perfect” crew, is the lead. Sophie Turner, best known as Sansa Stark on HBO’s “Game of Thrones,” is the bitchy adversary. Toby Sebastian also was in “Game of Thrones” in a smaller role. Gabriel Basso was in “Super 8” and “The Kings of Sumer.” Plus Samuel L. Jackson, Jaime King and Jessica Alba turn up.

So what are they doing in this silly flick about a teen super-spy who decides she’d rather experience high school instead? I don’t know. I honestly don’t know.

It’s essentially “21 Jump Street” except instead of being a cop, Steinfeld is Agent 83 of the Prescott School for Girls, a place where orphans are raised to be deadly assassins. Jackson is the stern taskmaster. But 83 yearns for something more, and after dousing herself in a raft of teen movies like “The Breakfast Club,” she decides to fake her death and do the John Hughes thing.

Dubbing herself Megan, she poses as a foreign exchange student – from Canada! – and embeds herself with a family in wholesome Newtown. Soon she’s navigating the familiar obstacles of mean girls, clueless teachers and romantic angst.

Dove Cameron plays Liz, the acerbic daughter of her foster family, who wants nothing to do with her. Sebastian plays Cash, the dreamy wannabe rock star of the school whom all the girls swoon over, including, soon enough, Megan. Thomas Mann is Roger, the geeky-but-nice guy who develops a crush on her. Basso is the Gooch, local athlete-meathead.

Director Kyle Newman and screenwriter John D’Arco put all these actors through the familiar paces without much flair or originality. You know it’s just a matter of time before Megan’s spy life invades her high school one, with Alba playing the evil renegade agent who wants revenge on the Prescotts. The comedy is broad and the storylines worthy of cable TV.

I think “Barely Lethal” is trying to be a parody of dumb teen movies, but ends up turning into one itself. If imitation is the sincerest form of flattery, then becoming that which you mocked must be the cruelest insult.

Review: "3 Days to Kill"

"Is Dad a badass?"
"He's done some things, yes."

"3 Days to Kill" is an odd flick, but not an un-entertaining one. On its face it looks like another one of these action-thrillers where an older assassin/spy proves he's still got it by mowing through an entire crowd of younger hit men -- by association also showing that the aging movie star portraying him still has some juice, too.

Liam Neeson relaunched his career this way, and now there are so many knockoffs it's practically become its own genre: Geezer Badassery.

But one thing joining all these films is their relentless seriousness and bravado, usually culminating in some scene where the protagonist makes a stern declaration about how he's such a force to be reckoned with, and you better not mess with him. (Predictably, the baddies never heed this advice, otherwise these movies would all end at the 20-minute mark.)

Kevin Costner doesn't do any of that in "3 Days to Kill." Like many of the other characters he's played, Ethan Renner is loose, easygoing and doesn't take himself too seriously. He's grim when his work requires him to be, but his default mode is a joshing sort of self-deprecating charm.

For instance, other characters in the movie repeatedly pester him about his casual dress, since everyone knows CIA assassins and their ilk are supposed to wear skinny black suits, instead of the slouchy chinos-and-bomber-jacket ensemble Ethan prefers. Heck, he doesn't even shave much, and mostly appears to be just going through the motions until retirement.

Of course, Ethan is dying from brain cancer, which has gotten into his lungs and caused a nasty cough, not to mention debilitating woozy spells that are kind of a hindrance when your trade involves people shooting at you. After his latest job goes bad, he's cut loose from the CIA with a tiny pension and barely a fare-thee-well.

That's a pretty dour setup for a movie. But director McG and screenwriters Luc Besson and Adi Hasak defy expectations by making the rest of the movie funny, jazzy and even kind of goofy. "3 Days to Kill" is essentially the comedy version of "Taken."

Ethan's goal with his few remaining months is to reconnect with the wife and daughter he abandoned so many years ago. But his daughter Zooey (Hailee Steinfeld) is lippy and combative, and has mastered that teen skill of humiliating their parents through sheer exasperatedness at their uncoolness. Her mother, Christine (Connie Nielsen), wants nothing to do with Ethan, and soon departs their Paris home for a business trip.

Then Vivi shows up. A young boss at the CIA played by Amber Heard, Vivi is a femme fatale who always appears in a different stunning outfit and new hairdo. She claims to have an experimental cure that could save Ethan or at least extend his life, which she's willing to share if he'll hunt down a mysterious arms dealer named The Wolf (Richard Sammel) for her -- which was the same job that blew up in Ethan's face.

Costner and Heard have a fun, antagonistic byplay, with her the brainy manipulator and him the old-school operator whose usefulness is fleeting. It's clear he halfway suspects the miracle juice she pumps into his arm his bogus, but he figures he doesn't have much to lose. She keeps coming on to him, though more as a power move than real seduction.

The running joke of the story is that Ethan's assassination mission keeps getting interrupted by the necessities of his return to a semblance of normal life. Zooey calls him on the phone, interrupting his interrogation of various lowlifes. It's hard to make a guy think you'll torture him to death if you're also asking him for pasta sauce recipes.

One of these is Marc Andréoni as a Middle Eastern wheel man for The Wolf. Ethan keeps kidnapping him and sticking him in the trunk of his car, but in between punches solicits his advice as a fellow father of teenage girls. It almost becomes a Laurel and Hardy routine.

Ethan also returns to find his apartment occupied by a large family of African squatters, who welcome him with open arms because they know archaic French laws won't allow them to be evicted. The deadly master assassin finds himself powerless at the hands of their warm invitations and smiles, and ends up enlisting the youngest son as his errand boy.

Rounding out the cast is Tómas Lemarquis as The Albino, the chief henchman of The Wolf. You know the villains are nefarious when they go by declarative titles instead of names. Do their close friends call them "The"?

Speaking of idiot nicknames, McG -- who insists on going by his frat-boy moniker instead of his given name, Joseph McGinty Nichol -- delivers crisp action scenes with a lot of spatial integrity, so that we understand where everyone is and what they're doing. Even the hand-to-hand combat doesn't devolve into a flurry if hyper-fast edits the eye can't track, which seems to be the norm these days.

I especially liked the sound design for the film. Gunfire is accompanied by deep staccato bursts, like a pile driver thudding into concrete. You can feel the vibration in your bones. Though, in grand action movie tradition, Ethan's gun clip appears to contain dozens of bullets.

The juxtaposition of these heart-gripping shootouts with the light, funny parts of the movie works better than you'd think. Ethan is a guy whom death surrounds like a magnetic field, yet this movie isn't about him riding a roller coaster into the grave. He regards killing as neither repellent or intoxicating, but simply part and parcel of the profession he's chosen.

The irony is now that he wants to leave that life behind, he must wallow in its excesses to obtain a shot at something more. The filmmakers opt to emphasize the ridiculousness of his situation rather than milk it for cheap thrills and quips after the bad guys have bought it.

Just shy of 60, Kevin Costner is still much the same performer as he was when he broke out a quarter-century past. His face is seamed and jowly now, but he retains that ornery twinkle and understated comedic timing. Even though "3 Days to Kill" chooses a very different route from similar films, it still accomplishes its task of proving its star has what it takes.

Review: "Ender's Game"

Give Hollywood credit for tackling a science fiction novel that contains few of the easy entry points the genre usually provides for cinematic endeavors. In "Ender's Game" there are no cute robot sidekicks, no cool aliens as allies, not even the lightspeed spaceships, laser weapons and other cool hardware that populate the background of such movies.

Instead, it's a grim and bleak look at a future where humanity is facing extinction at the hands of a hive-like race of creatures known as the Formics. Asa Butterfield plays Andrew "Ender" Wiggin, a young boy who is also a brilliant strategist, finding himself being trained to lead Earth's defense against the invaders.

(According to the film's narration, children make for better commanders because their ingenuity is not bogged down by straitlaced adult thinking. It's a storytelling conceit; just swallow it and move on.)

The film, based on the novel by Orson Scott Card, largely plays out as a long game of psychological warfare and simulated combat, with Ender attending the elite off-world Battle School, where he must go up against his fellow child recruits, his gruff and demanding commander, and eventually the aliens himself. He is forced to hone his instincts for warfare while balancing them against his human compassion, exemplified respectively by his psychopath brother and his compassionate sister (Abigail Breslin).

If you think just because the movie stars a cast of mostly kid actors that it's a good fit for young audiences, think again. While the violence is rather tame and there's no swearing, the mental duress placed upon Ender is quite extreme. Audience members under high school age would likely find it dreary.

(Incurious adults, too.)

As a cerebral exercise, though, I found the film challenging and complex, supplying many questions and few easy answers about the morality of waging war. Ender's tactics are genius, but his willingness to sacrifice allies to achieve a win earn him the grudging respect of his teachers and fellow students alike.
(I'm not surprised to learn the book is recommended reading for U.S. Marines officer training.)

As Colonel Graff, Harrison Ford tackles a much darker role than we're used to. Graff sees Ender as his shining star, potentially the savior of humanity, and if that means putting a tender boy through the crucible of harsh lessons, he's more than willing to do it. Viola Davis plays a psychiatrist chartered to nurture Ender's psyche, so naturally she finds herself butting heads with Graff.

Ben Kingsley has a small but vital role as the last of Ender's instructors, a man with a tatooed face and mysterious past. Hailee Steinfeld plays Petra, a fellow cadet who stands up for Ender when he's abused by their team leader.

"Ender's Game" will not suit everyone's tastes. Writer/director Gavin Hood's plotting is sometimes suspect, and the story bogs down a few times. And if you go in expecting a light, action-heavy ripping space yarn, you'll likely walk away disappointed. For me, the moral complexities of the tale were tantalizing and way more ambitious than expected. This is thinking man's sci-fi.

Video review: "True Grit"

The Coen brothers' version of "True Grit" goes completely sideways from the 1969 film starring John Wayne. It is not really a remake of that iconic Western, but a new interpretation of the novel by Charles Portis.

Jeff Bridges' Rooster Cogburn is not likely to be confused with Wayne's. Though both played the one-eyed, over-the-hill lawman with a penchant for shooting first and asking questions whenever he felt like it, but the similarities end there.

Bridges' character seems not merely ill-tempered but downright morally indifferent to the violence he perpetrates. The only real difference between his actions and those of the men he hunts down is that he has the protection of the law on his side.

Hailee Steinfeld is a revelation as Mattie Ross, a 14-year-old farm girl who hires Cogburn to capture -- and preferably kill -- the man who murdered her father. Mattie is smart as hell and even more stubborn, and insists on tagging along. Along the trail they throw in with a Texas Ranger (Matt Damon) with similar motives but very divergent sensibilities.

With its deliberately stilted, formal dialogue and black moodiness, the new "True Grit" is an entirely novel take on familiar material.

Video extras are a bit pokey. The DVD version comes with four featurettes about the cast, the costumes, re-creating Fort Smith and the character of Mattie.

Upgrade to the Blu-ray/DVD combo pack, and you get three more featurettes about the weapons of the Western genre, Charles Portis and the film's bleak cinematography. It does at least come with a digital copy of the film.

Movie: 3.5 stars out of four
Extras: 2.5 stars

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Review: "True Grit"

The Coen brothers' remake of John Wayne's signature role seemed like a bad idea. And yet, despite not departing significantly from the 1969 film in plot, they've managed to put an entirely new and highly engaging twist on "True Grit" in terms of tone and mood.

Wayne's outing as one-eyed drunkard/lawman Rooster Cogburn -- he won an Oscar for it, and Jeff Bridges probably will get nominated, too -- was a G-rated picture of high adventure and comedy. The Coen writing/directing duo, Joel and Ethan ("No Country for Old Men"), deliver an unsurprisingly darker version, both in the quantity of the violence and the timbre of the humor.

(Although, how this paean of bloody shootings, stabbings, hangings and severings got a PG-13 rating is another testament to the vagaries of the MPAA.)

Perhaps the Coens' "True Grit" is best thought of not as a remake of the Wayne film, but an entirely new interpretation of the novel by Charles Portis. It is told from the perspective of an older woman remembering the seminal experience of her life at the age of 14 -- her recollections no doubt colored by the passage of time and some intrusion of imagination.

Mattie Ross is surely the most obstinate, opinionated girl from Yell County, Arkansas. After her father is shot down by a no-account halfwit named Tom Chaney (Josh Brolin), she attends to all the affairs, including transport of the body and haggling with a local businessman over the disposition of his mules.

Mattie is played by newcomer Hailee Steinfeld in a film debut that immediately announces the arrival of a young but formidable talent. Her clear-eyed, head-on performance is so immediate and pure that we do more than adore Mattie; we respect the hell out of the little son of a gun.

Set on hiring a U.S. Marshal to hunt down Chaney, she chooses Cogburn because he is reputed to be the meanest. We first meet him being grilled in a courtroom by a defense lawyer who demands to know how many men he has shot in the line of duty. "Shot or killed?" Cogburn lazily retorts, though it doesn't feel like bluster.

Bridges goes completely sideways from The Duke in portraying Cogburn, whom he inhabits with a slouching, slurring, nonchalant competence. Rooster is overly fond of whiskey, and is the first to admit he has grown too old and fat for this line of work, yet there's no denying he gets the job done -- even if it means waylaying culprits rather than arresting them, and arranging facts to fit the outcome.

Mattie tags along through sheer stubbornness; she wants to see the job done, and if possible pull the trigger on Chaney herself. Joining them is La Bouef (Matt Damon), a Texas Ranger who wears flamboyant buckskin and might seem boastful if he didn't have the goods to back it up.

La Bouef has been hunting Chaney on another warrant for months, and throws in with them, despite Cogburn's constant insults and the presence of a girl. There's also a thrilling, slightly creepy hint of attraction between the Ranger and Mattie, despite at least 20 years age difference.

The Coens' world feels rich and detailed; the characters do and say things not just to further the plot but make us believe they have an expansive history of which we're only seeing a tiny slice.

Cogburn talks while he rides, ruminating over ex-wives and the Green Frog, a tavern he used to own and run. He circles rope around his bedroll to keep snakes out, which sounds like nonsense -- until you Google it and find out it works. (Their soft underbellies don't like the feel.)

The language of the dialogue is comically formal and stiff, with hardly a contraction: "The ground is too hard. If these men wanted a decent burial, they should have got killed in the summer," Cogburn notes.

But the Coens, who love to play around with the conventions of film genres, aren't just goofing: They're setting the audience up.

There's a scene about an hour in of sudden, horrible violence, and we sense the filmmakers have been easing a noose around our necks with the tongue-in-cheek humor and stilted talk. That sharp bloodletting is them jerking our heads back, like the snap of a hangman plying his trade.

Remake, re-imagining, call it what you will -- "True Grit" is truly the Coens' best movie in a decade.

3.5 stars out of four