The classic, horned Disney villainess is back in a different light with “Maleficent: Mistress of Evil,” a wickedly entertaining sequel to the 2015 smash hit starring Angelina Jolie in the title role.
“Maleficent,” of course, told the story of Sleeping Beauty from evil fairy godmother’s point of view, a point of view that changed from bad to good by the end of the film. In “Mistress of Evil,” we find out that Maleficent raised Aurora (Elle Fanning), the Sleeping Beauty, and she’s not quite ready to let her go when Prince Philip (Harris Dickinson) asks for her hand in marriage.
But the pending nuptials is the least of Maleficent’s worries – Prince Philip’s mother, Queen Ingrith (Michelle Pfeiffer), has fabricated the ceremony as a trap to destroy all fairies – including Maleficent.
“Maleficent: Mistress of Evil” is spectacular on all levels, from the stunning visual effects, a sensible expansion of Maleficent’s storyline and another majestic performance by Jolie. Adding to the fun is the smart addition of Pfeiffer, who delightfully chews the scenery with her deliciously evil performance. Fanning is once again radiant as Aurora and Chiwetel Ejiofor and Ed Skrein make for wonderful additions to the film’s already impressive cast.
While “Maleficent: Mistress of Evil’s” storyline follows a tried-and-true good vs. evil storyline, in this case the basic storyline is a good thing. After all, the film’s PG rating makes “Maleficent: Mistress of Evil” a highly accessible family film that’s every bit as informative as it is entertaining.
Lammometer 9 (out of 10)
Tim Lammers reviews movies weekly for “The KQ92 Morning Show” on KQRS-FM, “Paul and Jordana” on WCCO Radio, “It Matters with Kelly Cordes on WJON-AM, KLZZ-FM, “The Tom Barnard Podcast” and “The BS Show” with Bob Sansevere. ALSO Tim reviews streaming programming weekly on WCCO Radio’s “Paul and Jordana.” On TV, Tim has made hundreds of guest appearances on “KARE 11 News at 11.”
Ten years after the inspired original, Woody Harrelson and his band of fellow zombie hunters are back with “Zombieland: Double Tap,” a sequel that is every bit as entertaining as the first “Zombieland” in terms of its comedy, but nearly is a dated concept when it comes to the listless zombie movie genre.
Just like cinema’s overwrought obsession with vampires with the “Twilight” movies that began just over a decade ago, “Double Tap” tries its best to put a spring into the steps of the walking dead — an effort that would have failed in the hands of lesser filmmakers and talented actors like Harrelson, Jesse Eisenberg, Abigail Breslin and Emma Stone, and new additions including Zoey Deutsch and Rosario Dawson as an Elvis-loving match for Tallahassee.
“Double Tap” picks up 10 years after the events of the original, where Tallahassee (Harrelson), Columbus (Eisenberg), Wichita (Stone) and Little Rock (Breslin) find themselves living safe and comfortably at the abandoned and well-stocked White House in Washington, D.C. And while Tallahassee and Columbus seem content with their cushy surroundings, sisters Wichita and Little Rock appear to be restless. Now coupled, Columbus wants to marry Wichita – an idea she’s not down with; and Little Rock feels a void in her life that could only be fulfilled by being with people her own age.
AUDIO: Hear Tim’s review of “Zombieland: Double Tap” with Tom Barnard on “The KQ Morning Show” on KQRS-FM. Segment is brought to you by Michael Bryant and Bradshaw & Bryant.
Ready to put themselves in harm’s way once again, the sisters hit the road, where they meet up with a peacenik hipster, Berkley (Avan Jogia), who strives to live in the utopia called Babylon. Little Rock loves the idea so much that she runs off with Berkley, giving Wichita no choice but to return to the White House to get Tallahassee and Columbus in a bid to find and rescue her little sister, and they’re joined by a bubble-headed blonde, Madison (Deutsch), for the ride.
Like the original, “Double Tap” is directed by Ruben Fleischer and co-written by Rhett Reese & Paul Wernick (the “Deadpool” movies), and team effortlessly brings the same smart and funny dialogue to the film, which is brilliantly realized by the always great Harrelson and the playfully wry Eisenberg. Deutsch adds an extra comedic punch as the ditzy Madison, a role that moviegoers will likely find hilarious or grating, depending on their tolerance for Valley Girl speak.
Naturally, the film is loaded with action and is punctuated by several gross-out zombie death moments, which are ultimately funny because they’re so outrageous. The big key to the success of the film is whether audiences who are over the whole zombie craze will want to revisit genre, which, as demonstrated by the dwindling ratings of AMC’s “The Walking Dead,” has almost completely run its course.
The filmmakers at least try to change things up by making the zombies smarter and more aggressive in “Double Tap,” but even that angle at this point feels all-too familiar. If it weren’t for the talent involved (also look for entertaining turns by Luke Wilson and Thomas Middleditch), this “Zombieland” would definitely feel (double) tapped out. The only possible thing better at this point would be a sequel to Simon Pegg and Nick Frost’s “Shaun of the Dead.”
Lammometer 7 (out of 10)
Tim Lammers reviews movies weekly for “The KQ92 Morning Show” on KQRS-FM, “Paul and Jordana” on WCCO Radio, “It Matters with Kelly Cordes on WJON-AM, KLZZ-FM, “The Tom Barnard Podcast” and “The BS Show” with Bob Sansevere, and reviews streaming programming on WCCO Radio’s “Paul and Jordana” as well. On TV, Tim has made hundreds of guest appearances on “KARE 11 News at 11” (NBC).
Following the smashing success of Walt Disney’s “Aladdin,” where he got to play Genie in both magical and human form, Will Smith is once again getting the best of both movie worlds in “Gemini Man,” an exciting sci-fi action film where the 51-year-old Will Smith faces off against his younger, “Fresh Prince”-era self to impressive effect.
Smith stars as Henry Brogan, a tired and weary military-trained sniper who after more than 70 kills has decided to call it quits. But instead of living out the rest of his days on a fishing boat, Henry comes into crucial, classified information about his latest kill that attracts the attention of a cutting-edge military contractor led by his former commander and combat trainer, Clay Veris (Clive Owen), who orders a hit on his former protégé.
AUDIO: Hear Tim’s review of “Gemini Man” with Tom Barnard on “The KQ Morning Show” on KQRS-FM. Segment is brought to you by Michael Bryant and Bradshaw & Bryant.
The problem is, Henry is so skilled at what he does that Clay decides the only person who can outsmart Henry is himself, so he unleashes a clone of the former solider who is 25 years younger. Having raised the clone, Clay has dubbed Henry’s clone “Junior,” and taught him to exceed the skills that the older Henry has already mastered. There’s an X-factor though: Clay has raised a young man devoid of emotional damage and fear that has wracked Henry’s brain over the years, and he believes that the lack of such preoccupations will give Junior the leg-up in completing his deadly mission of killing his older self.
“Gemini Man” in less capable hands could have been reduced to a one-trick pony of a movie with the clone element, but thanks to the expert director Oscar winner Ang Lee, the film’s jaw-dropping, de-aging visual effects make for merely one of the many stunning elements that help the film rise above your standard sci-fi action fare.
AUDIO: Hear Tim’s review of “Gemini Man” with Paul Douglas and Jordana Green on “Paul and Jordana” on WCCO-AM. Segment is brought to you by Michael Bryant and Bradshaw & Bryant.
Lee’s direction is thrilling from the very start, as Smith teams with colleagues both old (Benedict Wong) and new (Mary Elizabeth Winstead) to stay one step ahead of hit squads and eventually, Junior, as they try to unravel the mystery behind the assassination attempt. Particularly impressive is the ingenuity that Lee brings to the film’s chase scenes, particularly a chase scene on motorcycles that employs invent shots (although the way Will survives the sequence is laughable). The film works on a cerebral level, too, as Henry literally stares mortality in the face as he battles head-to-head with Junior.
Even though “Gemini Man” likely won’t restore Will Smith to the sort of “King of Hollywood” status he enjoyed in the “Independence Day” and early “Men in Black” era of 20-plus years ago, there’s no question that the film will go a long way in keeping his career on track after the success of “Aladdin.” But as Genie, as entertaining as he was, Will was a supporting player. In “Gemini Man,” Will is back as the lead and then some.
Lammometer: 7.5 (out of 10)
Tim Lammers reviews movies weekly for “The KQ92 Morning Show,” WCCO Radio, WJON-AM, KLZZ-FM, “The Tom Barnard Podcast” and “The BS Show” with Bob Sansevere. On TV, Tim has made hundreds of guest appearances on “KARE 11 News at 11” (NBC).
Joaquin Phoenix gives a masterful performance in an otherwise flawed but still riveting movie in “Joker,” writer-director Todd Phillips’ heady examination of origins of the Clown Prince of Crime in what appears to be – at least at this point – a standalone movie in the DC Comics movie universe. Of course, the iconic Batman arch-nemesis originated in a comic book, but there’s no question Phillips wanted to take the character in the direction of the gritty, 1970s and ‘80s crime films by director Martin Scorsese, specifically “Taxi Driver” and “The King of Comedy.”
Phoenix mentally and physically transforms himself into Arthur Fleck, an extreme outcast and loner who works as a party clown and has grand aspirations of becoming a stand-up comedian. Living a meager existence with his damaged mother (Frances Conroy), Arthur is a man living on the edge of a mental breakdown, and after a couple brutal beatdowns by bullies, snaps with repercussions that he’ll never be able to recover from.
AUDIO: Hear Tim’s review of “Joker” with Tom Barnard on “The KQ Morning Show” on KQRS-FM. Segment is brought to you by Michael Bryant and Bradshaw & Bryant.
Forging a new identity as a murderer who masquerades in clown makeup, Arthur’s murderous ways inspires the malcontents of Gotham City to rise up against the rich, where suddenly powerful citizens like Thomas Wayne (Brett Cullen) become the target of hatred. Making matters worse, Arthur’s idol, talk show host Murray Franklin (Robert De Niro), crushes the fragile comedian wannabe when he mocks his stand-up talents on the air. Because the segment was so popular, though, Murray invites Arthur to appear on the show, marking Arthur’s complete transformation into Joker.
“Joker” without question takes a deeper dive into the character than we’ve ever seen on film, and it’s a blessing Phillips got somebody as enigmatic and talented as Phoenix to take on the ambitious role. With the edge taken off the challenge of being the first person to assume the role after legendary performance of Heath Ledger (Jared Leto was the unfortunate soul to do that with “Suicide Squad”), Phoenix clearly isn’t trying to outdo Ledger in Christopher Nolan’s “The Dark Knight” (or for that matter, the brilliant Jack Nicholson in Tim Burton’s classic 1989 “Batman” film), but make the role his own. His uncontrollable laughter (passed off as a medical condition) in “Joker” is chilling (and yes, somewhat grating), but his subtle behavior and the way he contorts his body are the attributes that make the ultra-intense performance complete.
While Phillips clearly creates a new back story for the main character (including a major plot twist that will have purists buzzing), “Joker” could still be considered a part of the DC canon. Not only does the action take place in Gotham pre-Batman, the inclusion of Thomas Wayne in the plot, as well as a young Bruce Wayne (Dante Pereira-Olson), eventually takes the story down the path readers associate with the character of Joker. If the story were to continue, it could easily turn into the classic confrontation of Batman vs. Joker; something Phillips has insisted will not happen, despite director Matt Reeves’ new version of the Caped Crusader called “The Batman” (starring Robert Pattinson).
AUDIO: Hear Tim’s review of “Joker” with Paul Douglas and guest host Mike Max on “Paul and Jordana” on WCCO-AM. Segment is brought to you by Michael Bryant and Bradshaw & Bryant.
While “Joker” populates the Gotham-centric story with Phoenix’s brilliance and solid performances from the likes of De Niro and Zazie Beetz (as Arthur’s neighbor and object of his desire), it’s far from a perfect film. The set-up lumbers along until the point where Arthurs is provided the tool that will lead to his self-destruction, and in-between, a huge plot device meant to be a twist screams predictability. Still, there’s no denying the overwhelming power of the third act, which despite the fact that you can see what’s coming, is a shocking piece of cinema, nonetheless. It’s here that fear in the news media about the film’s excessive violence finally presents itself, and it leaves you with a gut-sickening feeling long after you leave the theater. For all the different ways the character has been presented to audiences before, there’s no doubt that this “Joker” is no laughing matter.
Lammometer: 7.5 (out of 10)
Tim Lammers reviews movies weekly for “The KQ92 Morning Show,” WCCO Radio, WJON-AM, KLZZ-FM, “The Tom Barnard Podcast” and “The BS Show” with Bob Sansevere. On TV, Tim has made hundreds of guest appearances on “KARE 11 News at 11” (NBC).
