VIDEO: See Tim’s review of the film with Adrienne Broaddus on KARE-TV (NBC Minneapolis).
Chris Hemsworth is back and funnier than ever as the God of Thunder in “Thor: Ragnarok,” an action comedy-style adventure that diverts from the path established by the first two “Thor” movies and as a result, thrives through the kaleidoscopic vision of director Taika Waititi.
The film doesn’t waste any time raising the stakes for Thor, who learns while in the capture of the fiery demon Surtur (voice of Clancy Brown) that his home planet of Asgard is facing Ragnarok – the end of days – which he thinks he puts a temporary stop to.
That all changes, though, when his father, Odin (Anthony Hopkins) warns Thor and his brother, Loki (Tom Hiddleston) that Hela, the Goddess of Death (Cate Blanchett) has broken out of her imprisoned existence and is coming to Asgard to wreak havoc. In their first attempt to stop her, both Thor and Loki are cast off to the junk planet of Sakaar, where its savvy ruler Grandmaster (Jeff Goldblum) features Hulk (Mark Ruffalo) in gladiator-style battles to entertain the planet’s inhabitants.
But with his powers restricted after being captured by the bounty hunter, Valkyrie (Tessa Thompson), Thor must first find a way to convince Hulk (Mark Ruffalo) to revert to Bruce Banner to escape from Grandmaster’s clutches to get back to Asgard to face off against Hela, whose powers are growing stronger by the minute.
While the first two Thor films weren’t overly serious, “Thor: Ragnarok” establishes almost from its opening frames that it will be marching to the beat of a different – and very funny – drummer. Yes, serious things do happen in the film, but through Waititi’s lighthearted approach, we’re treated to a fast-moving, neon-infused adventure romp that’s loaded with action, colorful costumes and sets, and hilarious dialogue created largely through the improv skills of the gifted ensemble cast.
All told, Waititi injects a burst of energy that’s so welcome in the Marvel Cinematic Universe. And while the previous films in the MCU were hardly lacking, it’s exciting to see a filmmaker take risks and break free from the studio’s other offerings and establish its own identity. While some sequels face the danger of falling into a trap and becoming formulaic with each passing film, that’s never the case with “Thor: Ragnarok.” It’s a (Hulk) smashing great time.
Lammometer: 9 (out of 10)
AUDIO: Hear Tim’s review of “Thor: Ragnarok” with Tom Barnard on “The KQ Morning Show.”
If you’re looking to get into the Christmas spirit early you should at the very least like “Love the Coopers,” a dysfunctional family comedy that avoids the trappings of the genre as it winds down to a predictable yet very sweet conclusion.
Diane Keaton and John Goodman star as Charlotte and Sam Cooper, whose marriage has soured after 40 years together. Wanting to gather their family together for one last Christmas before they split, the Coopers struggle to hold it together as their children and extended family each make their respective treks to the family household.
“Love the Coopers” plays out in five individual stories before the family gathering, as we follow the complicated lives of Cooper children Hank (Ed Helms) and Eleanor (Olivia Wilde), grandpa Bucky (Alan Arkin), Charlotte’s sister, Emma (Marisa Tomei), and of course, Charlotte and Sam.
Hank is going through a divorce and is
in search of a job, while Eleanor has a mess of a love life until she meets a soldier (Jake Lacy) on leave. Bucky, a lonesome widower, is distraught that his good friend, Ruby (Amanda Seyfried) is moving away; while Emma struggles to come to terms with her longtime sibling rivalry with Charlotte. Also involved wrapped up in the family trials are a taciturn police officer (Anthony Mackie), an eccentric aunt (June Squibb) and Hank’s estranged wife (Alex Borstein) and their lovelorn teenage son, Charlie (Timothee Chalamet).
“Love the Coopers” feels like a number of different films, from “Home for the Holidays” to “A Christmas Story,” because the story is aided with a wise, introspective narration. It also feels a lot like “Love, Actually,” because it starts out with separate stories that eventually intertwine.
Despite its shortcomings, “Love the Coopers” works because it could have easily gone the way of a screwball comedy, yet instead relies on its gifted cast’s talents as actors whom possess natural gifts for both drama and comedy. It has a surprising blend of humor and poignancy, all while telling us a story we all know too well: Families are complicated. But since the Coopers are loaded with family members you can relate to, don’t be surprised if you leave the film with a big smile on your face.
“Spotlight” (R) 3 1/2 stars (out of four)
Michael Keaton, Mark Ruffalo and Rachel McAdams head up an all-star cast in writer-director Thomas McCarthy’s “Spotlight,” a compelling film about the Boston Globe’s Spotlight team’s investigation into the Boston Archdiocese child sex abuse scandal – a report that led to a falling out in the Catholic Church and exposure of hundreds more scandals in parishes nationwide.
Set largely in 2001 – in the days before the Wild West journalism of the Internet (and a sad reminder of how investigative journalism is currently on life support) – “Spotlight” follows editor Walter “Robby” Robinson (Michael Keaton), reporters Michael Rezendes (Ruffalo), Sacha Pfeiffer (McAdams) and Matt Carroll (Brian d’Arcy James) as the team digs into allegations of child molestation against defrocked priest John Geoghan. As it turns out, Geoghan is only the tip of a very large iceberg, leading the reporters to groundbreaking investigation into the Catholic Church’s cover-ups of child sex abuse by defrocked, and in some cases, reassigned, priests.
“Spotlight” runs the gamut of emotions. You’ll feel sadness hearing the tragic revelations of abuse survivors in interviews conducted by reporters; and anger when you see the thinly-veiled threats by the church’s powerful supporters as Spotlight is urged to back off its investigation. There’s also frustration as journalists desperately try to get sensitive court documents unsealed, and disbelief as the reporters uncover a coded system in the church’s records to detect how priests accused of abuse were dealt with in a very large and convoluted system.
In the end, “Spotlight” is a very difficult film to watch, but an important film to watch nonetheless. It’s easily one of the best films of the year.
The cinematic universe has proven to limitless to Zoe Saldana, who in recent summers has played pivotal roles in the new “Star Trek” movie franchise and last year’s mega blockbuster “Guardians of the Galaxy.”
This summer, though, the acclaimed actress is keeping things down to Earth, quite literally, with the family drama “Infinitely Polar Bear.” But while her role is decidedly different than Lt. Uhura and Gamora, Saldana said signing on to the film was more a matter of happenstance than a conscious decision to play opposite ends of the movie spectrum.
“I wish I was ‘The Man with the Plan,’ but I’m really not that kind of artist. I never have a whole year lined up,” Saldana told me in a recent interview. “Every now and then a project will come, whether it comes in small independent package or in a big studio package, and if I like the story and if I feel like it’s going to be a wonderful experience to be a part of it, then I’ll start pursuing it.”
Now playing in select cites and expanding throughout the U.S. in July, “Infinitely Polar Bear” tells the story of Maggie (Saldana) and Cam (Mark Ruffalo), a once happily-in-love couple with a pair of young daughters (Ashley Aufderheide and Imogene Wolodarsky), whose marriage eventually falls apart over Cam’s inability to deal with his manic depression.
Separating from Cam and struggling as a single mother with the girls in small apartment in Cambridge, Massachusetts, Maggie, stressed and broke, comes up with a solution: If she can attend business school at Columbia University and earn an MBA in 18 months, she can ensure a better life for daughters. However, she can only do it with the help of Cam — that is if he can take responsibility of his daughters as well as himself — while she’s away in New York.
Saldana said once she read the script by writer-director Maya Forbes, she was desperate to do the film.
“I just kept reading the script over and over again — it was so beautiful and spoke to me on so many levels. It was real, so I wanted to be a part of it and do the character justice because it was so special to me,” Saldana said. “It deals with a very heavy subject with bi-polar disorder. So many people are affected by it, yet we know so little about it. Maya captured it in a very beautiful way because not every scene is about Cam’s condition. Every scene is about her father and her mother, and her sister and herself. The dad has this condition, but he’s a great guy and he tries hard every day. That’s what I loved.”
If that wasn’t enough, Saldana, 37, said stories of father-daughter relationships always resonate with her on a personal level.
“I lost my dad when I was very young, so I’m a sucker for stories having to do with daughters and fathers. I just had to be a part of this,” said Saldana, who just had twin sons in November with her husband, Marco Perego.
“Infinitely Polar Bear’s” approach is unique in that, while the film is set in 1978, it doesn’t draw any attention to Maggie and Cam being a bi-racial couple. In fact, apart from one brief scene where Maggie discusses her black heritage with one of her daughters, race is not mentioned throughout the entire picture. Saldana, whose mother is Puerto Rican and late father was Dominican, said she’s glad Forbes didn’t turn the film into a racial discussion.
In a day an age where the subject of race is broached on many different levels daily, I told Saldana how refreshing it was to see Maggie and Cam not portrayed as a black parent and white parent (and nearly 40 years ago, no less) struggling with their marriage and who both love their children; but simply as parents struggling with their marriage and who both love their children.
“I’m so happy that you mentioned that. I always wait for people to mention race in order for us to talk about it,” Saldana told me. “Race is not a subject that I spend a lot of time with because I don’t want to, unless it’s done in the right way. That’s what I loved about this film, because it reminded me of the way I grew up. My father was much darker than my mother, but it was never about that growing up at home. They never mentioned anything about color unless we were painting on paper or deciding what we wanted to wear. It was never about the skin color of people.”
Saldana said Forbes grew up in the same way, which gave the film the proper insight of not making an issue out of race.
“We tell more stories where people make an issue out of it, and generally those stories are by outsiders looking in,” Saldana observed. “But the people who were in it — and whatever the case may be, whether it had to do with their race, gender or growing up with two parents of the same sex — it was never about that. When you’re in it, you’re not talking about it, you’re simply living it.”
Effectively, that’s how Saldana could tell how Forbes’ script was authentic — something the actress doesn’t get with every screenplay she reads.
“It’s something I always point out to writers. I can tell with stories when a person of a certain culture is writing about a foreign culture because they point out on every page and every scene something about the foreign culture,” Saldana said. “It’s like when a white writer writes about one character is black. They will have a white character at some point make a joke or a statement about their color. You can tell who the writer is without knowing them.”
But when the writer does get it right, like Forbes does with “Infinitely Polar Bear,” it’s an exhilarating feeling, Saldana added.
“When we’re talking about art and actors, we’re hired to be chameleons. We’re hired to do a job and if we do it well, you’re not going to see me, you’re going to see the character I’m trying my hardest to bring to life,” Saldana said. “So when that can be seen or pointed out, or I’ve been told that I’ve accomplished that, then I know that the writer has gets it and I’m on the right path. It just makes me feel really good to be doing what I do.”
Original Interviews, Reviews & More By Tim Lammers