On assignment for Looper.com, Tim talked with “Wendell & Wild” director/co-writer Henry Selick and star James Hong. Click below to read the interviews!
Tim Lammers reviews movies weekly for “The KQ92 Morning Show” with Tom Barnard on KQRS-FM, “Paul and Jordana” with Paul Douglas and Jordana Green 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 NBC affiliate KARE on the news program “KARE 11 News at 11”.
Tim joined Paul Douglas and Jordana Green Tuesday to review the new series “Dead to Me” Season 2 (Netflix), and “Disney Gallery: The Mandalorian” and “Prop Culture” (Disney+) with Paul Douglas and Jordana Green on the “Paul and Jordana” show on WCCO-AM. Click to listen below. The segment is brought to you by Michael Bryant and Bradshaw & Bryant.
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).
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).
You will believe an elephant can fly – and capture our hearts once again – with “Dumbo,” director Tim Burton’s emotional and exhilarating live-action reimaging of the 1941 Disney animated film classic. Using the conclusion of the animated film as a springboard for this new tale, “Dumbo” expands the storyline to imagine from a human point-of-view what takes place after the large-eared baby elephant takes flight and triumphs over those who ostracized him, only to encounter those who want to exploit his unique gift.
“Dumbo” begins in 1919, recalling the events just before the conclusion of the animated film where an over-sized pachyderm shows an amazing ability to fly. It’s a particularly startling occurrence, because in the real-world setting in which this live-action “Dumbo” exists, the animals don’t talk and Timothy Q. Mouse is, well, just a mouse. As such, Dumbo, as the baby elephant comes to be dubbed, is born into the circus run by Max Medici’s (Danny DeVito), and he’s put in the care of Holt Farrier (Colin Farrell), a World War I solider who returns at the conclusion of the battle missing an arm and a widow, since his fellow circus performer wife died while he was away.
AUDIO: Hear Tim’s review of “Dumbo” with Tom Barnard on “The KQ Morning Show” on KQRS-FM.
Clearly distraught from the recent traumatic events in his life, Holt is also struggling to reconnect with his young children, Milly (Nico Parker) and Joe (Finley Hobbins). Fortunately, the two kids strike up a kinship with the young, outcast elephant, whom they discover has an uncanny ability to fly. Once Dumbo’s magical ability is revealed to the world, slick entrepreneur V.A. Vandevere (Michael Keaton) swoops in and convinces Medici to become his partner in his new entertainment megalopolis Dreamland, where the elephant will soar with his aerial star, Collette Marchant (Eva Green). Behind Vandevere’s shiny exterior, though, is a conniving showman will push the limits of safety to make big money on his newest curiosity.
Fans of Burton will get everything they’re hoping for with “Dumbo,” from dazzling visual effects – Dumbo feels like a living breathing creature who really can fly – a big-time, big-top atmosphere, as well as the darker moments fans associate with the director’s previous works. The darker feel comes from the sinister intentions of Vandevere, though, and not the Gothic settings that have been showcased in many of Burton’s previous films. Instead, we get big, bright and dazzling set pieces (courtesy the director’s longtime collaborator, production designer Rick Heinrichs), as well as stunning period costumes via the filmmaker’s frequent collaborator Colleen Atwood.
While reimaging a classic film like “Dumbo” is no doubt a tall order, it’s clear that Burton didn’t set out to top the original “Dumbo” with this new live-action tale, but to create, along with screenwriter Ehren Kruger, a story that sensibly expands the narrative and ultimately serves as a bookend to the 1941 original.
That’s not to say key elements from the animated film were omitted. Dumbo flies thanks to aid of a feather, but uses it in a different sort of way. Plus, you still get the heartbreaking separation of Dumbo from Mrs. Jumbo (accompanied by a new, heartstring-tugging rendition of “Baby Mine”), and some of the big-top antics in the new film hearken the heartache of the baby elephant being ridiculed by unforgiving circus patrons. But with this new version of the tale Dumbo also gets a new family, who are appropriately a group of fellow outcasts who perform in Medici’s circus.
AUDIO: Hear Tim’s review of “Dumbo” with Paul Douglas and Jordana on “Paul and Jordana” on WCCO-AM.
To create a family film about a family of outcasts, Burton smartly reassembled many members of his movie family for “Dumbo.” In addition to Keaton, DeVito and Green, “Dumbo” once again teams Burton with Alan Arkin (who last worked with the director on “Edward Scissorhands”), as well as with his longtime producer Derek Frey and producer/first assistant director Katterli Frauenfelder. The reunion isn’t complete, though, without composer Danny Elfman, whose memorable score weaves in elements of the original “Dumbo’s” music along with his own classic sensibilities.
All told, “Dumbo” is magical tale of wonder, along with plenty of heart, hope and humor. It’s a rare family film for kids of all ages, whether it’s the child who grew up with the animated “Dumbo,” only to become parents to show the movie to their own kids; or to a younger generation who now have a “Dumbo” movie to call their own.
Tim Lammers reviews movies weekly for The KQ92 Morning Show,” “KARE 11 News at 11” (NBC), WCCO Radio, WJON-AM, KLZZ-FM, “The Tom Barnard Podcast” and “The BS Show” with Bob Sansevere.
