I saw Red One

As an early-Christmas, imagi-movie gift, Red One, directed by Jake (Jumanji: Welcome to the Jungle) Kasdan and written by Chris (Fast & Furious) Morgan (based on a concept from producer Hiram Garcia), slides its merry way into theaters. It's a jaunty blend of Santa Claus Conquers the Martians, A Nightmare Before Christmas, Santa Claus (1959), Santa Claus: The Movie, and Ernest Saves Christmas, adorned by elements of Doctor Who (in particular, the story, "Once Upon a Time") and Mission: Impossible, each portion wrapped in festive, DC/Marvel garland that's trimmed with ample, steampunk, snow-globism. It's also aimed at kids, as well as adults, containing lots of silly splash for the former and lots of two-fisted gusto for the latter. 

J.K. Simmons plays the titular hero, a fit, no-nonsense Saint Nick, who acknowledges the gravity of his job and holds the unparalleled confidence to get it done ... until he's kidnapped. It's then up to Santa's ELF/Enforcement Logistics & Fortification (security) team, led by Dwayne Johnson's Callum Drift and Lucy Liu's Zoe Harlow, to get him back, abetted by crackerjack hacker and reluctant recruit, Chris Evan's Jack "the Wolf" O' Malley. O'Malley is incredulous to the whole affair (being a long-time Santa cynic), and so naturally clashes with the Kringle-devoted Drift, who, if the truth be known, has grown a tad disenchanted with his job, after witnessing man's inhumanity toward man one too many times.   

Kiernan (Mad Men) Shipka's Gryla, a shapeshifting ogre-witch, is responsible for the misguided abduction, and along the way, we get Kristofer Hivju's frightful Krampus, who sports just the right, gnarly looks to please monster-movie fans of all ages. (Comprising the supporting cast is Wyatt Hunt as young Jack; Wesley Kimmel as Dylan, Jack's son; Mary Ellis as Olivia, Jack's ex; and Bonnie Hunt as Mrs. Claus; along with an assortment of talented others who each lends a respectful, helping hand to the high-tech fable.)

In addition to the larger-than-life Krampus, Red One features Reinaldo Faberlle's Garcia the Polar Bear (perhaps the movie's top, CGI scene-stealer), joined by some humongous reindeer, ravenous hellhounds and really cool (pun intended), living/breathing, giant snowmen. The entrance of these entities adds much to the tall tale's punch, though the TARDIS-esque, toy-store passages were the towering highlight for me.

I guess one can deduce that I like Red One, even though my inner snob isn't suppose to, but since I dislike my inner snob, I'll take whatever criticism is thrown at me. You know, on further reflection, Red One does have a pervading, live-action, Rankin/Bass, The Year Without a Santa Claus feel about it, and if not for the slight cussing and over-the-top melees, the story would translate easily into a swell, 1960s/1970s, stop-motion event, though one, mind you, that would probably still rub all those humbugger snobs the wrong way.  

For those considering Red One for a view, if only to engage a little, Yuletide cheer, I say slip it on for size. If it doesn't turn out to be your all-time favorite, Christmas flick, so what? The odds still favor you'll appreciate its spirited tone. 

I saw Infinity War (Part 1)...

They say that "Marvel's Avengers: Infinity War: Part 1" is the biggest, character team-up in cinema history. I've no cause to dispute that claim.

Within its nearly three-hour running time, "Infinity War" gives us Captain America (Chris Evans); Iron Man (Robert Downey Jr); Black Panther (Chadwick Boseman); Black Widow (Scarlett Johannson); War Machine (Don Cheadle); the Winter Soldier (Sebastian Stan); the Falcon (Anthony Mackie); Hulk (Mark Ruffalo); Thor (Chris Hemsworth); Loki (Tom Hiddleston); Spider-man (Tom Holland); Scarlet Witch (Elizabeth Olsen); the Vision (Paul Bettany); Doctor Strange (Benedict Cumberbatch); and crossing their imposing paths, those glorious Guardians of the Galaxy (Chris Pratt; Zoe Salanda; Dave Baustista; Karen Gillan; Pom Klementieff; Vin Diesel; and Bradley Cooper). There are also several suprise titans who accompany the headliners. (In fact, one will find a few costarring favorites straight out Marvel's previous blockbuster, "The Black Panther". How's that for respectful continuity?)

Directed by Anthony and Joe Russo (who performed a pitch-perfect job on my favorite entry, "Winter Soldier", as well as the contentious but colorful "Civil War"), and written by acclaimed Cap veterans Stephen McFeely and Christopher Markus, the action swings among Earth, space and connecting dimensions. It's no wonder with the pensive, intergalactic villain (and Eternal daddy to Gamora and Nebula), Thanos (Josh Brolin) manipulating the variables to seize the mystical infinity stones: six lovely chunks that house the universe's limitless essence. Thanos hopes to adorn them upon his enormous glove, though even an incomplete set gives the galactic thug significant leverage over the assembled Avengers. But by golly, our heroes still do their best to bring him down, along with his ruthless regiment of Black Order/Cull Obsidian generals. 

"Infinity War" plays, in this respect, like other Marvel movies, with lots of good fighting lots of bad. However, with the Avengers entering the mission more-or-less divided, they must put aside personal concerns to combat their common foe, albeit in specialized packs. The script, therefore, insinuates "X-Men United", though places the concept on a more sprawling scale. (I'm glad, by the way, that Team Rogers and Team Stark are at long last mending their ways. The "Civil War" rift never felt right to me, whether in comic or film form. In my opinion, animosity between/among friends, especially of the exalted, fictional sort, should be resolved within one story line, but I'm okay seeing it settled in two or three, as long as it happens somewhere down the damn, reachable line.)

Even with its unorthodox tensions referenced and stacked throughout, the film doesn't flip the franchise (the most financially successful of all time, I might add) on its head, unless one sees blasphemy in Cap's brooding beard, Widow's amber hair, or Spidey's shiny suit. (For the record, we gained a glimpse of Parker's new costume in "Homecoming", so it's use in an Avengers rally shouldn't be all that surprising.) 

But wait--what's that you ask? Is there truth to the rumor that an Avenger dies? Maybe even more than one beloved character? Well, if that's truly the case, it sure would be big, saga-changing news, but I'm not one to kiss and tell for the here and now. (You know how to reach me if you desire a confirmation.)  I'll say this much: The demise of any Marvel icon would be troubling, perhaps unforgivable, but maybe one could justify it within a well wrought plot. Keeping it more "Wrath of Khan" than "Force Awakens" would be the way to go, but with Disney and Paramount both involved, the woeful moment(s) could go either way...if such were to occur. (And if death were to strike, would any Avenger ever stay forever defunct? Come on, now... Why mourn? Why lament? Fantasy holds no limitations.)

Though the initial "Infinity War" projects much to anticipate and contemplate, its best asset might be the way it combines science and magic, but then, haven't the adventures of Thor and Strange already succeeded there? Also, when it wants to be, the film is as somber as "Winter Soldier" and yet at other times, as outrageous as a Guardians misadventure. Again, we've already seen these extremes on the big screen, though per divided presentations. That they work well within the same context, darting from out so many opposing vantages (and never turning cringe-worthy in the process), is quite a superheroic stunt. (Heck, "Infinity War" exceeds "Justice League" by leagues in this regard.) Say, maybe that's the film's thematic (and symbolic) point!

For those who've stuck with the saga since "Iron Man", it's essential to check this one out. Most will be satisfied with its epic delivery, and I bet "Part 2" will hit an even higher, satisfactory note when released next year.

So, fasten your seat belts and enjoy the high-adrenaline, emotional hills and valleys. As with most Marvel flicks, this ain't Shakespeare, though this one does at least scratch that surface on more than a few occasions. For now, that's all that should count. That's all that should suffice...

I saw Rogers vs Stark...

I confess, I’ve never fancied the concept of Marvel’s “Civil War”, and therefore, when I heard it to be the basis for “Captain America 3”, my heart sank. Of course, this didn’t mean the film would be a disappointment. It simply meant it would possess a contentious element, which seems to be the popular swing of things among superhero adventures these days: case in point,  “Batman v Superman”, "Teen Titans vs Justice League", and "Daredevil: Season 2". 

The appeal of civil conflicts can go either way, depending on how the content is rendered, but when it comes to rifts among good guys, there’s usually an intertwining trait at play: i.e., the story is both pleasing and upsetting. Directors Joe and Anthony' Russo's "Winter Soldier" follow-up, “Captain America: Civil War”, is an excellent example of that. 

The core concept, as presented by Cap bards, Stephen McFeely and Christopher Marcus, isn't too complicated (and similar to “Batman v Superman”): The Avengers have repeatedly saved the world, but widespread damage has occurred from their intervention, such as in the film's Nigerian opening. Consequently, General Thaddeus Ross (William Hurt) now helms a unit that intends to watch over the group. To extend his control, the general wants the heroes to sign a U.N. pact to curb their two-fisted enthusiasm if/when more trouble should appear. 

Indeed, the Hydra-purged government (ha, ha) is none too pleased with Steve Rogers/Cap America (Chris Evan)’s spontaneity when jumping to action, determining him more a liability than a benefactor. Though this will strike anyone who knows the hows and whys of Cap's plights as absurd, it's surprisingly Tony Stark (Robert Downey, Jr), a man who's otherwise bucked the system and acted cavalier through most of the long haul, who endorses the watchdog rationale; however, by supporting it, he also echoes Ross' myopic condemnation. 

Rogers argues against the restricting oversight, fearing it will lead to hesitation, which in turn will certainly allow adversaries to dominate and massacre the innocent. Considering the violent dimensions of previous chapters, Cap's concern is justified, and it's through his conviction that the story draws its strength, reminding us that Cap is a man of principle: a leader whose stance should hold unswerving weight and influence, even among those of his own kind.

Nevertheless, factions form. On Cap's side, we have Bucky Barnes/the Winter Soldier (Sebastian Stan); Sam Wilson/the Falcon (Anthony Mackie); Clint Barker/Hawkeye (Jeremy Renner); Wanda Maximoff/Scarlet Witch (Elizabeth Olsen), Scott Lang/Ant-Man (Paul Rudd); and Sharon Carter/Agent 13 (Emily VanCamp). On Stark's side, we have Rhodey Rhodes/War Machine (Don Cheadle); Natasha Romanoff/Black Widow (Scarlett Johansson); the Vision (Paul Bettany); behind-the-scenes Terrorist Agent Everett Ross (Martin Freeman); Prince T'Challa/Black Panther (Chadwick Boseman) and Peter Parker/Spider-man (Tom Holland). For what it's worth, Brock Rumlow/Crossbones (Frank Grillo) and Helmut Zemo (Daniel Bruhl) also make appearances: the latter a complex villain who nudges the animosity along, much like Jesse Eisenberg's Luthor in "Batman v Superman".

As one can infer from the overflow, “Civil War” isn’t really “Cap 3”, as much as it's “Avengers 3” or perhaps “Ultron: the Aftermath”. Though Cap stays at the center, he frequently finds himself competing with Stark for screen time, so that the film also begins to feel like "Iron Man 4" at times. For that matter, Cap also competes with all those for and against him. His purpose, which rang clear in “Winter Soldier”, now gets muffled in the bad-blood shuffle.

To add to the uneven dynamic, the newbies, Black Panther and Spider-man are conspicuously confined within the epic's colossal magnitude, even though they do on occasion shine. Spidey’s web-snapping of Cap’s iconic shield may go down as a classic moment, but it's also disquieting (despite Parker's avid reactions) due to its opposing brashness, and Panther’s need to comply with a stifling, governmental agency goes contrary to his mythological grain, even if his grudge toward Barnes remains understandable. It would have been wiser to relegate these two to cameos and then have focused on individual, cinematic chapters: for Spidey, a reboot to eclipse the mush-muddled “Amazing Spider-man 2” and for Panther, a comprehensive, two-hour intro, akin to what Ant-Man received. 

Though it's consistently painful to watch Cap's competitors keep rebounding, our hero's reaction to such is moving and identifiable. The world Cap knows, the morals he has long embraced, are now being ridiculed and defiled. The audacity of this builds to the point where Cap becomes a reluctant underdog and unfortunately turns the guilt-plagued Stark into a borderline villain: a twist that may strike some as blasphemous. 

However, as Stark's opposition widens, Cap’s bond with Barnes and Wilson strengthens, his friends' support projecting the best aspects of both (and yes, a remarkable feat for the sake of the former, considering the years of mental manipulation he's endured). However, their unflinching loyalty once more makes one wonder why Team Stark can't see it their way, and so the confusing, conflicting cycle continues. 

By the time the credits roll, the characters are still at odds, but at least with a sprinkling of  hope, thanks to a few gracious gestures from Iron Man, Panther and Widow. Unfortunately, to receive a full resolution, we're asked to show patience, and if there’s any one, overriding flaw in “Civil War”, it’s that.

Cap shouldn’t be put at prolonged odds with his fellow Avengers. Instead, he should be facing (and defeating) the revived Red Skull, teaming with S.H.I.E.L.D. to kick Hydra’s ass until the cows come home and making a succinct, patriotic statement in so doing. For all of its swift fight sequences and winsome CGI accompaniment, "Civil War" can’t avoid the fact that it opposes the most fundamental of comic-book adages: There are no shades of gray; only examples of good and bad. 

Fingers crossed that this thread doesn’t infinitely characterize future chapters. The sooner the divide halts and the good guys reassemble for a common cause, the more satisfying the escapades will be, not only for Cap and the gang, but for those of us who've long supported the Avengers' collective campaigns.