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 Red Notice...

Red Notice's arrival took me by surprise, but there it was, all ready to go on Netflix and right on the heels of my Get Back Disney+ indulgence, no less. Hot diggity!

The movie stars Ryan Reynolds, Dwayne Johnson and Gal Gadot (for all intents and purposes, Deadpool, Hercules and Wonder Woman) in a madcap, Bondian spree about retrieving the three (alleged), adorned egg-sculptures that Marc Antony gifted Cleopatra. 

What makes this adventure such great fun is the banter among its principals, but also its globetrotting twists, which make one wonder who among the trio is fooling whom. The assumption is that Johnson's FBI Agent John Hartley is the good guy, Ryan Reynolds' Booth Nolan is the bad guy set to turn good, and Gal Gadot's "Bishop" is the presiding, manipulating baddie, but as the plot spins, not all is as it seems. (One even starts to question the film's good-gal pursuer, Ritu {The Umbrella Academy} Ayra's Agent Das, who has the ultra-buoyancy to keep resurfacing against all credible odds, not to mention the audacious intent of Chris {The Three Stooges '12} Diamantopoa's villainous Sotto Voce, a possessor of one of the fabled eggs.) 

Rawson Marshall (Skycraper) Thurber's direction holds its own with the best of 007 directors, and his script is a crackerjack one, which lends itself well to its popular, screen personalities. 

Steve Jablonisky's spy-thrill score cements everything, as does Marcus Forder's cinematography, so that when one isn't laughing (in particular at the inside-movie jokes) or second-guessing the sneaky surprises, it's easy to settle into what becomes an aesthetically pleasing, modern Our Man Flint or mega-budgeted Get Smart. (Now that I think of it, Johnson was in the latter's hefty remake. How's that for associated kismet?!)

To analyze Red Notice's histrionic points would spoil the adventure. It must be experienced in a fresh way, but it's suffice to say that it's enjoyable from start to finish, and yep, it could/should usher more.

I'm all for that. Red Notice (incidentally, a worldwide alert to seize those of monumental threat) isn't resolved with this picture, with more such "notices" insinuated by the time the end credits commence. Considering the leads' chemistry (and the opportunity to see Gadot don more slinky attire), this is a franchise just itchin' to be born, even if its relegation remains exclusive to streaming. Whatever the viewing format, let it happen. Red Notice II can't come fast enough in my eager estimation. 

THANK YOU, DWAYNE JOHNSON!!!

Thank you, Dwayne "the Rock" Johnson for your inspiring, truthful words on "the snowflake generation". 

Per the Daily Star, Johnson stated, "I don't have to agree with what somebody thinks, who they vote for, what they voted for, what they think...but I will back their right to say or believe it. That's democracy."

Johnson also said, "So many good people fought for freedom and equality, but this generation are looking for a reason to be offended. If you're not agreeing with them, then they are offended, and that is not what so many great men and women fought for."

The cry-baby subculture has gotten away far too long with little denouncement from the Hollywood scene. The snowflakes are, in fact, "actually putting us backward", Johnson claims, and he's right to smear their censorious, sissified stance. 

There's no doubt that Dwayne Johnson has already proven himself a true-blue hero on film and stage, but now also in real-deal, freedom-of-expression life. Oh, yeah--I sure do respect what THE ROCK IS COOKING!!!

Monster Team-up Reflection: I saw Rampage...

There was once a time (late '40s to be exact) when buzz was high for a space adventure entitled "Destination Moon", enough so that another group of filmmakers became inspired to beat George Pal's big-budget production to theaters with a low-budget effort called "Rocketship X-M". 

One could argue that, whether by accident or plan, history has repeated itself. The big-budget, WB/Legendary Films' "Godzilla vs Kong" (a thematic rehash in its own right) is announced, and a production of similar concept (ironically, offered through the WB-linked New Line Cinema, and in this instance, loosely based on a popular, Midway video game) enters cinemas before it.

The film is "Rampage" and features a mutant gorilla, crocodile and wolf. "Rampage", like "Rocketship X-M", sports a stellar cast, though in the latter case, the participants were yet to hit stardom. In "Rampage", the actors already contain marketable fame, but the formula for fun is spun from an equally humble heart. Whether considered original or derivative, "Rampage", like "Rocketship X-M", blasts off at full throttle and gains its enduring strength per unpretentious escapism. 

Directed by Brad "San Andreas" Peyton, and written by Ryan Engle; Carlton Cuse; Ryan J. Condal; and Adam Sztykiel, "Rampage" should also be considered a full-blown disaster film, on a par with "Deluge", "Earthquake"..."When Worlds Collide", but what makes its domino-effect destruction so raucously engaging is its character foreplay: a technique that ensures its success.

The story's prime protagonist, Dwayne "The Rock" Johnson's Professor Davis Okoye, is a caring primatologist, who holds a special bond with an albino silverback named George (Jason Liles), Okoye rescued George from poachers many years prior and keeps the simian safe in a lush sanctuary, but George eventually meets a different type of dire fate, tipped by a tried-and-true, science-fiction twist.  

George, as well Lizzie, the crocodile and Ralph, the wolf, have become tainted by growth-chemical experimentation, thanks to Dr. Claire Wyden (Malin "Watchmen" Akerman), which in the tradition of giant-monster flicks of the '50s, goes big-time awry. Heck, Ralph even gains the ability to fly. In their enraged, deformed states (and via Wyden's magnetic signal), the deviants trek beyond their habitats and into urban territory. 

Okoye leaps in to intervene, not only to stop the widening destruction, but to prevent his friend from being killed by military strike. To ensure his success, Okoye teams with compassionate and wrongly discredited geneticist, Dr. Kate Caldwell (Naomie Harris). The duo realizes that if George can quell his anger (a simultaneous symptom of his growth), he can help halt the other beasts. 

There are, however, those destined to complicate the scientists' quest, such as the tenacious mercenary Burke (Joe "Pee-wee's Big Holiday" Manganiello) and crafty but ultimately supportive, government agent Russell (Jeffrey Dean Morgan, Akerman's "Watchmen" co-star and of course, "Walking Dead'"s most recent villain supreme). Wyden's edgy brother, Brett (Jake Lacy) and the obstinate Col. Blake (Demetrius Grosse) complement the mayhem.

A touching, though tension-bound buddy tale rises from the circumstances, with enough heroics springing from human and ape to make any superhero fan cheer. At the same time, though we expect the protagonists to triumph, the daunting deterrents make their goal precarious, while the exaggerated, cement-crunching circumstances help liven (and distinguish) the melodrama from its counterparts, even though it shares most of their turbulent traits.

Its predictable aspects are beneficial, however, placing the adventure on a Toho/Daiei path, with a good monster risking his life to save humankind. To abet this, the relationship between George and Okoye captures the warmth of "Son of Kong" and "Mighty Joe Young" (either version), but never becomes so sappy as to force the pair's exploits into something childish. In other words, fans who favor kiddie kaiju, like "Godzilla's Revenge" and "Destroy All Planets", may be disenchanted, but appreciators of "Ghidrah, the Three-Headed Monster" and "King Kong Escapes" should be pleased to a chest-thumping tee. 

Whether "Rampage'"s advance ascent will diminish the presumed cultural impact of "Godzilla/Kong'" (or the next-up "Godzilla 2") is anybody's guess. However, "Rocketship X-M" only fueled interest in "Destination Moon", which became the first shot-in-color, science-fiction blockbuster. My prediction is that "Rampage" will follow suit. Besides, there appears ample room in the current, cinematic climate for all kinds of contentious, titanic team-ups.  I say, bring 'em on, one and all!!!   

I saw Hercules (once more, in new form)

When I reviewed the Renny Harlin/Kellan Lutz "Legend of Hercules" in Jan '14, I honestly didn't give a hoot if the critics (or even the general public) fancied it. I just wanted to see a new sword-and-sandal flick and basically got what I expected. This has also been my attitude toward Brett "X-Men: Last Stand" Ratner's take on the hero, and history has essentially repeated itself (surprise, surprise, the critic's ain't kind), though the Ratner film is considerably larger and more special-effects laden than the Harlin effort. 

This new entry, simply called "Hercules", is based on the late Steve Moore's acclaimed comic, "Hercules: the Thracian Wars" (adapted for the screen by Ryan J. Condal and Evan Spiliotopoulos) and enlists the expressive Dwayne "the Rock" Johnson as the "Son of Zeus". In this particular retelling, classic mythology seamlessly blends with modern, cinematic sensibilities. In this regard, though the film is relegated to ancient Greece, its underlying vibe is often contemporary, particularly when enhanced by its streamlined, CGI'd trimmings and use of the vernacular.

The story initially focuses on samples of Herc's twelve labors: an enduring part of the legend, even if such generally gets bypassed on screen (the Luigi Cozzie/Lou Ferrigno version perhaps being the most meticulous in catering to it). At any rate, in the event one had any doubt of his formidable stature, these fleeting excursions (though seemingly implied exaggerations) quickly establish Herc's renowned, physical attributes.

The story then picks up years later, with a more cynical Herc, who though typically affable, is haunted by the mysterious deaths of his wife and sons (a disturbing plot element which stems from his actual origins). He also sustains himself as a mercenary, hired ultimately by the Thracian King Cotys (John Hurt), through his enchanting daughter, Ergenia (Rebecca Ferguson), to ward off an enigmatic tyrant, Rhesus (Tobias Santlemann), who some claim is a centaur with the ability to recruit men via mental means.

Though one might still assume the task an effortless one for our muscular hero, Rhesus' foreboding image alone makes the task a threatening gamble. Thankfully, with a little help from his intrepid friends, including the intuitive Amphiaraus (Ian McShane), Herc tenaciously meets the challenge head on, while attempting to rekindle the unswerving honor he once exuded before his family's demise. 

Johnson is naturally impressive in the towering lead: a capable thespian, having accomplished great variance in his characterizations, from family adventures ("Journey 2: Mysterious Island") to action thrills ("The Scorpion King"). Perhaps the latter is where he best excels, and on that basis, this tale suits him well.

On the essential character-actor side, Hurt and McShane both shine (which should go without saying): their combined presence bringing an air of sophistication to the production, justly capping Herc's brawls with beasts (the three-headed Cerberus, a lightning-fast hydra, a mammoth lion and boar, but are they spectral or real?), plus a slew of relentlessly fierce, though inevitably outmatched human contenders. 

On the beauty side, Ferguson remains perpetually pleasant, as does Herc's amazon companion, Atalanta (Ingrid Bolso Berdal): neither of whom ever becomes an amorous hindrance. In contrast, the film is populated by many ugly and rough-edged types, who add just the right dash of menace to the proceedings. 

Like the graphic novel upon which it's based, this retelling is unique compared to most Herc incarnations: his lion headgear being the most visual distinction. Also, there is a question as to whether Herc is just an amazingly strong guy or in fact, the demi-god most perceive him to be. The film also twists matters in distinguishing who is good and bad, and it's up to Herc and his friends to come to terms with such, relying on their faith and convictions to do so.

On this basis, Ratner's movie shouldn't be compared to the recent Harlin/Lutz version, or for that matter, the Steve Reeves and Reg Park classics, let alone Sam Raimi/Kevin Sorbo's "Legendary Journeys". This one, at best and most, is a homage to them all and yet radically deviates from them, propping a humanistic view over the supernatural.

Do yourself a favor and just go with the flow with this one. The film certainly has all the required ingredients for sure-fire fun: a larger-than-life champion, magnificently choreographed battle scenes, offbeat characterizations and eye-popping creatures. If you have an opportunity to view it (and you're not inclined to side with high-brow pretentiousness), you're likely find both your time and money well spent.