film reviews, interviews, features | BRWC

Author: Matt Conway

  • Batman – Soul Of The Dragon: Review

    Batman – Soul Of The Dragon: Review

    While audiences may be missing Batman’s menacing presence on the big screen (I’m counting the days till Battinson makes his debut), DC continues to provide a plethora of animated Caped Crusader offerings. These low-profile releases cleverly recontextualize the hero’s gothic image in an intriguing new light, including bringing Batman to the past (Gotham by Gaslight) and teaming him up with fellow pop culture icons (Batman vs. The Teenage Mutant Ninja Turtles). The latest in the hero’s animated catalog Batman: Soul of the Dragon imbues a 70’s martial arts spin that doesn’t work quite as well as it should.

    Set in the 1970s, Soul of the Dragon follows Batman (David Giuntoli) as he’s reteamed with his fellow martial arts companions Richard Dragon (Mark Dacascos), Lady Shiva (Kelly Hu), and Ben Turner (Michael Jai White). The four former students most prevent the end of the world when their famed teacher goes missing.

    Where most stories stew in Batman’s dour mindset, Soul of the Dragon takes a refreshingly low-steaks approach. Veteran director Sam Liu morphs Batman’s mythos with the campy energy of 70’s kung fu movies, utilizing the genre’s cheesy pastiche to subvert audience’s typical expectations (never thought I’d see Batman with unkempt sideburns). Liu’s playful sensibility generates a few high-flying action frames along the way, relishing the material’s inherent cheekiness with a few bright, uptempo fist-fights.

    The veteran voice cast deserves praise for elevating their thinly-written roles. David Giuntoli’s rigid presence makes a fitting Bruce Wayne, while Michael Jai White and Mark Dacascos have a blast playing two of Wayne’s charismatic classmates. Both characters cleverly represent well-established trends of 70’s cinema. Dacascos has a blast playing a suave Bond-like superspy, while White carries a towering swagger reflective of the era’s best blaxploitation stars.

    Soul of the Dragon’s promising aesthetics have a certain allure, but Liu and company do little to give the veneer much weight. A truncated 82-minute length allows little breathing room amongst the chaotic action, leaving several intriguing subplots in the dust (Batman loses his girlfriend in the opening scene, but it’s never brought up again). Where other animated efforts present thoughtful textures with their vibrant settings, Liu’s latest chases a style that isn’t implemented as successfully. Outside of a few playful references, the material mostly confuses formulaic plot notes as clever homages.

    I support what Soul of the Dragon attempts to achieve, especially considering the refreshing R-rating at hand. It’s just a shame most of the approach comes with half-measures. It’s humorously referential, but not entirely mature for its target demographic. There are some sparks of intrigue on the page, although most of those are undermined by the relentless pace. The whole experience registers as one of the Caped Crusader’s more weightless endeavors.

    I’m sure Soul of the Dragon will please some diehard fans, but the wishy-washy delivery doesn’t live up to its distinct premise’s promise. That being said, I’m always happy to support these brisk animated vehicles. The platform allows DC to take intriguing risks with properties that are rarely able to bend onscreen.

  • Locked Down: The BRWC Review

    Locked Down: The BRWC Review

    COVID-19’s cratering effects on society are impossible to ignore, even for the escapism of Hollywood movies. A few COVID-related films have found their way out of the patchwork, but most of these rushed efforts use their subject matter as an exploitable marketing ploy (the dreadful Songbird marked one of 2020’s worst films). The latest COVID-inspired heist dramedy Locked Down presents promise within its authentic set-up. Despite the potential, director Doug Liman mostly leaves audiences with a befuddling tonal mess.

    Locked Down follows Linda (Annie Hathaway) and Paxton (Chiwetel Ejiofor), a couple in the midst of a break-up during the COVID-enforced lockdown. As the two grapple with the challenges of their predicament, they set their eyes on a heist to get revenge over ongoing corruption.

    Any film boasting Hathaway and Ejiofor’s assured talents is undoubtedly better for it. The two commit to their archetype roles with the utmost sincerity, selling the character’s marital tension beyond what’s on the page. Hathaway’s cunning wit makes a great pairing with Ejiofor’s distinguished disposition, allowing for a few sharply-drawn sparring matches to take center stage. I was also pleasantly surprised by screenwriter Steven Knight’s dedication to intimate dramatic frames. Knight’s minimalistic effort puts character building in the foreground while also developing an authentic COVID portrayal around the periphery Unlike Songbird, this movie at least approaches it’s challenging subject matter with respect for its lingering hardships.

    Admirable intentions aside, Locked Down doesn’t add much to the conversation. Knight’s story of two relatively well-off socialities feels oddly distant from the current struggles at hand. His script includes some familiar buzz words (Paxton heckles a guy who buys all the toilet paper), but his effort doesn’t engage with COVID’s deeper ramifications. The zeitgeist setting is instead utilized to highlight the duo’s repairing of marital trust.

    While the actors make for capable sparring partners, neither talent develops palpable chemistry once the film forces its romantic subplot. Knight’s script reaches an awkward balance between studio comedy devices mixed with a more indie, character-driven approach. It doesn’t represent either tonality well in the process of the confusion. Several quirky inclusions, including Paxton reading poetry to locked-in residents, strain for comedic impact, yet most of the material lands with an uncomfortable thud. The jokes often range between over-written wordplay and simplistic references, rarely eliciting laughs despite the numerous attempts.

    For a film presenting several promising qualities, Doug Liman’s effort lacks a playful spark. Liman’s capable hands as a genre filmmaker are reduced to sterile wide shots intermixed with some inconsistently-framed Zoom calls (Linda has a film-quality webcam while the other characters have choppy presentations). I was intrigued to see how the heist angle would play out, but it feels like an afterthought. Unlike Rob Savage’s well-constructed horror vehicle The Host, this effort feels painfully restricted by its COVID circumstances. Liman’s lack of scale and kinetic energy leads to the film dissipating before it ever takes off.

    I give the team behind Locked Down credit for crafting a tasteful studio yarn within the restrictive circumstances. This fact still doesn’t compensate for the film’s distinct lack of presence, as Liman and Knight collaborate an empty effort reeking of studio mandates.

  • The Marksman: The BRWC Review

    The Marksman: The BRWC Review

    Even as theaters crumble around us, Liam Neeson’s relentless onslaught of run-of-the-mill actioners continues to push onward. Neeson’s steely delivery has served as a promising life preserver for slowly-operating theaters during a period of financial deficits (Honest Thief earned a decent gross in its theatrical run). The star’s latest The Marksman flashes sparks of an old-fashioned action vehicle. Despite the potential, it more or less marks another middling entry in his long-running resume.

    The Marksman follows Jim (Liam Neeson), a widowed rancher barely getting by on the outskirts of the Arizona border. He becomes the unlikely defender of Miguel (Jacob Perez), an immigrant boy desperately fleeing cartel assassins pursuing their form of justice.

    As a stout supporter of disposable actioners, Neeson continues to provide a valuable service for the genre. He consistently imbues straight-laced everyman roles with more gravitas than they deserve, capably carrying material that often isn’t up to his talents. As Jim, Neeson discovers a few poignant frames within the character’s inner turmoil. His gravely charms provide a sturdy enough center for the cliched plot threads to take place around. Young co-star Jacob Perez also holds his own within a relatively underwritten role.

    While The Marksman ranks among Neeson’s most subdued actioners (there’s sadly no shoot-out on a nosediving plane), director Robert Lorenz creates a visually arresting film along the way. After serving as Clint Eastwood’s long-time assistant director, Lorenz comfortably basks in the atmospheric glow of tried and true westerns. His usage of wide-shots and patient framing becomes an ideal complement for the material’s down-to-earth presentation. I also enjoyed the no-frills grit present within the action frames, with Lorenz smoothly highlighting the simplistic showdowns.

    Most of the narrative presses forward without a dull moment, but the mere competence can’t overcome the generally contrived presentation. A script collaborated by three writers (including Lorenz) reduces into one blandly boilerplate effort, drawing from superior actioners without much care or understanding of their contemporaries. The narrative crux of Jim and Miguel’s developing relationship has dramatic potential, but their dynamic lacks the intimacy to properly connect with audiences.

    I don’t think the tandem establishes much of a relationship despite the actor’s assured abilities. The two are mostly relegated to generic exchanges lacking in a naturalistic flow. It doesn’t help that The Marksman surrounds itself with poorly-conceived cliches, including villains who are never grounded with thoughtful development (a third act speech does little to forgive their empty blood lust).

    There’s some potency buried beneath the mountain of cliches, yet the material never takes itself seriously enough. Lorenz and company seem complacent going through the thoughtless B-movie motions, leaving a few intriguing subplots in the dust along the way (an arc involving Jim’s alcoholism and a vaguely-developed critique of American bureaucracy go nowhere). Lorenz delivers narrative devices with little care of the emotionality behind them, pushing the flat material to the finish line in an empty workman-like manner.

    Without well-established characters or a significant action punch, The Marksman is destined to become TV fodder for disinterested dad’s approaching their nap time. Between this and Honest Thief, I hope Neeson strives for more inspired material going forward.

  • WandaVision: The BRWC Review

    WandaVision: The BRWC Review

    *This is a review of the first three episodes of WandaVision sent to press outlets. I will update this review in further weeks to offer my complete analysis*

    The MCU’s juggernaut run has reached unprecedented critical and financial heights for blockbuster filmmaking. Their nearly-undefeated track record (sorry Thor: The Dark World) now looks to venture to the small screen with a batch of Disney+ TV shows. Ever since the announcement, I have wondered what this intriguing transition would look like. The shift presents Marvel with fresh opportunities to innovate from their typical formula, but would they be willing to risk their winning resume?

    While it’s not completely unfamiliar from the Marvel routine, their debut show WandaVision does mark a refreshing change-of-pace for the storied brand. In allowing two seldomly-highlighted characters to breathe in a unique setting, director Matt Shakman’s program reaches its own affable frequency amongst its big-screen peers.

    After being forced on-the-run following Civil War, WandaVision follows Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany) as they begin to live in sitcom-esque suburbia. As the two grow in their new environment, they begin to suspect their world is far more fragile than it seems.

    Without any marquee action beats or colorful costumed moments, WandaVision‘s initial episodes may befuddle some diehard fans. Personally, I was delightfully surprised by the levels in which Shakman and company embraced the sitcom pastiche. The trio of episodes delves into the subculture of sitcom’s evolving history, cleverly embracing each period’s distinct sensibilities with a detailed eye. The running gag never becomes too clever for its own good, with the visceral references serving as well-spiced seasoning for the narrative at hand. The creators’ self-assured patience allows the narrative to set-up without overwhelming the show’s best dynamics.

    Under all the aesthetics, WandaVision elicits the most enjoyment from its titular pair. After seeing Elizabeth Olsen and Paul Bettany relegated to thin, self-serious roles on the big screen, both actors charismatically let their hair down with their super-powered roles. As a couple discovering themselves among marital normalcy, the two share lived-in chemistry through their naturalistic delivery. It’s a blast to see these two playfully stumble past the nuclear normatives of the family structure, with the material discovering intimate humanity from the character’s continual growth.

    WandaVision’s cliffhanger tease boasts potential for future episodes, but I do have some concerns about the show’s ability to sustains its unique energy. Jac Schaeffer’s promising narrative presents a weightlessness concurrent with the MCU’s generally safe presentation. There is an inability to engage with meaningful dramatic frames, whether it be Wanda recovering from the loss of her twin brother or Vision having doubts about his role as a father. I hope future episodes embrace TV’s unique structure, potentially allowing characters to grow more than they would in busy super-powered team-ups.

    WandaVision welcomes an intriguing new form, but it still presents the same crowd-pleasing allures of the Marvel brand. It will be fascinating to see how the show evolves in the coming weeks.

    UPDATE AFTER THE SEASON FINALE

    Little did I know, the first three episodes of WandaVision would rank as the show’s most consistent stretch. The show quickly ditches its singular sitcom vision to balance its real-world story involving SWORD agents. While it’s nice to see the talents of Randall Park and Kat Dennings return to the screen, the two are relegated to corny roles that lack any dynamism outside of flat one-liners. I like when Teyonah Parris’ Monica Rambeau has a chance to breathe on screen, but her character never gets any agency outside of Wanda’s personal strife.

    Marvel certainly means well in its attempts to ruminate with Wanda’s grief and the way it manifests the world around her. I just don’t think their material reaches any meaningful nuances within its character development. Overworked dialogue strains for unearned sentimentality, while an overwhelming use of expository dialogue sledgehammers every wrinkle with awkward obviousness. The show is at its best when Elizabeth Olsen and Paul Bettany are sharing the screen, yet the second half seems to split their engaging dynamic whenever it gets the chance.

    WandaVision doesn’t live up to its initial promise. That still doesn’t stop this Marvel show from eliciting some exciting entertainment. Through the roller-coaster second half of the season, the show still kept me at the edge of my seat as each new development unfolded. The growth of Kathryn Hahn as a wicked antagonist brings the show a much-need threat, while a few playful narrative detours keep the audiences on their toes. I eagerly tuned in every Friday and still awaited follow-up episodes after each tense cliffhanger.

    I am excited to see where Marvel can go with this new serialized format. The platform allows fresh opportunities for patient storytelling against the brand’s usually boisterous big-screen brothers. That being said, I hope Marvel allows its writers to stretch outside of the studio’s typical comfort zone, as WandaVision would have benefited from a bit more distance from familiar superhero devices.

  • Outside The Wire: The BRWC Review

    Outside The Wire: The BRWC Review

    Like their inspired forefathers, several modern science fiction yarns utilize contemporary plights to ruminate on vital cultural conceits. Our society’s over-reliance upon AI technology meshes seamlessly with the genre’s explorative idealism, allowing adept filmmakers to digest this ever-changing dynamic. Netflix’s latest sci-fi actioner Outside the Wire utilizes genre machinations to highlight society’s distrusting and abusive attitudes towards tech. Its thematic grasp may outstretch the narrative’s reach, but director Mikael Håfström ably constructs a capable meat-and-potatoes actioner around its intriguing ideas.

    In a near-future where robots serve as hapless grunts, Outside the Wire follows Thomas Harp (Damon Idris), a decorated drone pilot sent on a dangerous mission after breaking orders. He teams up with Captain Leo (Anthony Mackie), a top-secret android officer attempting to stop a nuclear attack. To prevent a new world war, Thomas must preserve in his challenging new role while debating whether to trust his sentient captain.

    An AI-driven future isn’t particularly revelatory, yet credit to screenwriters Rob Yescombe and Rowan Athale for carving their own pathway amongst the crowded subgenre. The two wisely ruminate on the moral and personal conflicts inherent within AI warfare, with robots matter-of-fact decision-making failing to assess a situation’s humane circumstances. Like astute science fiction films should, the duo draw upon our tech-dependent environment when critiquing society’s over-reliance and lackluster understanding of tech’s limitless potential. Athale and Yescombe also draw an engaging actioner yarn in the process, including a clever third-act twist that spices up the familiar formula.

    As a straight-forward actioner, Outside the Wire delivers what audiences are looking for. Mikael Håfström continues to operate as an assured director-for-hire, aiding the film’s busy action frames with his poised camera work (it’s refreshing to see an actioner not overplay the shaky-cam trope most films overuse). Håfström and his team also build a lived-in dystopian setting for audiences to invest in.

    He meshes the boots-on-the-ground grit of war procedurals with textured sci-fi design work, which helps further ground the material in a level of realism. Stars Damon Idris and Anthony Mackie further bolster the film’s appeals through their capable abilities. I especially enjoyed seeing Mackie play off the typically cerebral presence of AI creations, infusing the character with a raw bravado that keeps audiences on their toes.

    Outside the Wire rarely takes a major stumble, but the film can’t shake its lingering sense of familiarity. The script’s Robocop-lite ideals aren’t infused with enough brains to re-work their inherent purpose, often reminding audiences of superior science-fiction efforts. One could see how the script could unleash a substantive experience, but Athale and Yescombe’s effort largely settles for your standard tropes. The central narrative falls into mostly routine territory while the characters are left feeling paper-thin in the process.

    Hardened science fiction fans may not take to Outside the Wire’s simplistic approach. For what it is though, Håfström cooks up a competent vehicle with his familiar ingredients.