MOVIE REVIEW: Spider-Man: Far From Home

(Image courtesy of Sony Pictures Entertainment via EPK.tv)

SPIDER-MAN: FAR FROM HOME— 4 STARS

The overwhelming internal tone and external vibe of Spider-Man: Far From Home is attempting to answer the reactionary and optimistic question of where do we go from here. Inside the movie, Peter Parker’s world is reeling from the passage of irrecoverable time, losses of heroic inspiration, and relationship challenges fitting of his age. For audiences entering the aisles and seats, they come curious about the closure of this phase of the Marvel Cinematic Universe, the possible opening of another arc, and where Sony can take this emerging classic character in the future. Jon Watts’ sequel answers those worries and wonders with soaring zest and jest.

Echoing the vlog opening of Spider-Man: Homecoming, the student news program from the plucky kids of Midtown School of Science Technology fills in the post-Endgame fallout where even they drop the “phase” label. They, in their own aloof and amateur way, explain the reappearance of the vanished populace as “The Blip” and detail some of the societal and personal adjustments. By means of Whitney Houston ballads and worldwide “in memoriam” tributes big and small in the last eight months, humanity mourns the sacrifices of the fallen Avengers, especially the iconic face-that-ran-the-place Tony Stark.

Peter Parker (Tom Holland), his guy-in-the-chair best bud Ned (Jacob Batalon), bullying rival Flash Thompson (Tony Revolori), and the objects of Peter and Ned’s affections MJ (Zendaya) and Betty Brant (Angourie Rice) have all returned from The Blip behind their classmates. The good news is they are welcoming a two-week trip to study abroad in Europe with two hapless teacher escorts (J.B. Smoove and a returning Martin Starr). A supportive Aunt May (Marisa Tomei) and a watchful Happy Hogan (Jon Favreau) send Peter on his way with a wink and his superhero costume just in case. Peter, though, just wants to have this dedicated time with his friends rather than get caught up needing to save the world.

LESSON #1: “UNEASY LIES THE HEAD THAT WEARS THE CROWN” — A final bequeathed gift from Tony Stark to Peter, a special pair of eyeglasses dubbed EDITH that control Stark’s satellite drown defense network, are accompanied by this quote from Shakespeare’s King Henry the Fourth. A person who has great power and responsibilities, such as a king or a superhero, is constantly worried and therefore remains uneasy. Despite the hilarious “Bitch, you’ve been to space!” retort and urging from Nick Fury (a second-billed Samuel L. Jackson), Spider-Man does not feel ready whatsoever to be an Avenger. Combine this with Lesson #2 later and Peter becomes overloaded with responsibility.

The web slinger has no such luck for a vacation when Fury and Maria Hill (Cobie Smulders) keep calling. Their patchwork remnants of S.H.I.E.L.D. have been tracking elemental monsters (nods to comic villains Molten Man and Hydro-Man) from a parallel dimension and, sure enough, one emerges to attack the famed canals of Venice when Peter is there, forcing him into action. The threat is destroyed by Quentin Beck (Jake Gyllenhaal), a powerful heroic figure from the same alternate Earth as the monsters, who takes the name Mysterio. Despite Peter’s initial refusal to step up and join Beck with S.H.I.E.L.D to take down the other coming creatures, Fury manipulates Peter’s trip itinerary to lead him and, unfortunately, his besties conveniently into harm’s way in new cities.

LESSON #2: THE DANGERS AND WORRIES OF NORMAL LIFE ARE ENOUGH — Through all of the peril thrust at Peter, the personal hurdles away from his costumed alter-ego turn out to be the harder obstacles. This hero is still a kid, a teen with all of those upfront and undeveloped wishes and desires. His social and mask-less identity fears, especially those connected to MJ, bring him more frozen fear than combating any flurries of super-powered menace. Kudos to director Jon Watts for keeping this tone intact and not growing Peter up too much or too fast. Tom Holland is maturing perfectly and ever so gradually in his fifth movie as this icon. Enjoy the “Peter Tingle.”

This excessive forced participation of Peter’s educational entourage is one of the few unreasonable flaws of the movie. Sure, the teen flings and minor shenanigans are cute at times, but most of their provided humor is witless, especially the one-liners of J.B. Smoove. Their constant placement as the primary bachelors and damsels in distress in each action sequence gets awfully repetitive. Sidekicks are better on the side, and the busy body script from the returning hit-making writing team of Chris McKenna and Erik Sommers (Spider-Man: Homecoming, The LEGO Batman Movie, Jumanji: Welcome to the Jungle) shows a creative thinness there and places to trim running time. Even Fury and the S.H.I.E.L.D. elements are a bit overused in a second Spider-Man movie that should be able to stand on its own. Take the training wheels off and let the kid go. The best notes of comedy come from Jon Favreau’s elevated warmth and mirth to take over some of the stewardship of young Peter. His scenes are a delight and proportioned just right.

LESSON #3: “PEOPLE ARE EASY TO FOOL WHEN THEY’RE ALREADY FOOLING THEMSELVES” — The headiest Spider-Man: Far From Home gets is this line from Quentin Beck bending Mark Twain’s quote of “It’s easier to fool people than to convince them they’ve been fooled.” There is a minor commentary layer present of over-believing what we see and hear. The movie’s twists and turns (stay through the credits, of course) promise this being a concern moving forward.

Opposite to the over-packed friendly side is the dominant presence and impact of Jake Gyllenhaal as Mysterio. What a casting coup to land the Oscar nominee! Comic book fans know that character is more than meets the eye, and Jake plays the two sides of confidante and challenger to heightened perfection fitting of his immense talent. For fifty years, a full and modernized manifestation of Mysterio’s powers of illusions in a movie felt impossible where a cartoon would be the only place to do that character justice. Dream no more, or, more appropriately, keep dreaming away. The special effects by The Matrix Oscar winner and returning Spider-Man: Homecoming supervisor Janek Sirrs are arguably the MCU’s best since Doctor Strange.

The stunning visuals power this movie’s unshakable pep. The action sequences and stunts coordinated by regular Christopher Nolan collaborator and second unit director George Cottle and his teams are dazzling in display and smoothly refined by dual editors Leigh Folsom Boyd and Dan Lebenthal. The bumping bravery of Michael Giacchino’s brassy score amp up the kinetic energy even more. All of this is a downright blast and a big screen feast for a summer movie season that has burned more cinematic food on the grill than it has properly served.

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MEDIA APPEARANCE: Guest on the "You'll Probably Agree" podcast talking "Toy Story 3" and 1989's "Batman"

(Image: Facebook.com)

Let me be either the first or the next person to tell you how cool it is to talk to Mike Crowley about movies. I’ve been a guest on his YouTube channel in the past and have always loved the banter and beer. Mike has recently revamped his “You’ll Probably Agree” brand and platform to include written and podcast content to go with his videos. His YPA Reviews are presented on a gorgeous and brand-spanking new website powered by Squarespace (which also runs this very one). This past week, Mike wanted to share a podcast discussion on Toy Story 4, especially with our differing takes between his positive one and my internet-reviled “rotten” tag. We also went from one box of toys to another to reminisce about the 30th anniversary of Tim Burton’s classic Batman. This was a damn good time with a damn good dude! Give the show episode a listen, his YouTube channel a new subscriber, his Facebook page a like, and his Twitter a follow!

MY FULL "TOY STORY 4" REVIEW

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EDITORIAL: Lessons I learned writing a negative "Toy Story 4" review on Rotten Tomatoes

THE LESSONS I LEARNED WRITING ONE OF THE FIRST AND FEW NEGATIVE REVIEWS OF “TOY STORY 4”

A week and a half ago, I watched Toy Story 4 during an advance screening for press and I really wrestled with what I watched. I slept on it, researched it, and went back and forth with my paragraphs. In the end, I gave it a two-star review which quantifies to a “Rotten” green splatter on Rotten Tomatoes. I knew vitriol and many questions would come. I sure didn’t know how much, even with the saying of any press being good press (Thanks, ComicBook.com). Let me tell you, I had quite the learning experience that is fitting for a special and personal “What We Learned This Week” editorial carried over from my weekly column on the Feelin’ Film podcast.

LESSON #1: IT WASN’T ABOUT THE ATTENTION— Those of you who know me and follow my work know my snark level is not very high. I’m not a purposeful contrarian and I don’t go about this with a mean spirit. I’m not out to burn anything to the ground, even if it’s Terrence Malick. Sure, I may write about lofty and nice film often, but I am far from a film snob too. Higher cinephiles than me have said worse things about more universally acclaimed movies than Toy Story 4. I gave Toy Story 3 the highest of acclaim possible in a review nine years ago and included the franchise in the top five of the best trilogies ever (for which it has now departed). I’m a regular guy, father of two, and a school teacher. Those are my informed anchors and lenses. 4500+ post views later, I will still assert that didn’t do this to get page clicks or to get noticed. I don’t get paid to write reviews. The ad revenue is pennies in a piggy bank and does not constitute a making a living on this stuff. 

LESSON #2: BE HONEST WITH YOURSELF— Again without contrarian snark, I wrote what I did with honesty in mind. Believe me, it would have been way easier to give the movie a pass or follow the pack mentality. I couldn’t with honesty and personal integrity do that, no matter the movie. I don’t give passes to anyone. Because of that, I knew to be careful next. 

LESSON #3: BE CAREFUL WITH YOUR WORDS— I go into each review, positive for negative, mindful of the words I use, especially the hyperbole. I have loved and championed this list of movie critic cliches from Letterboxd user Erik Bajzert and I actively avoid them at all costs. They have become my rules and style guide. 

LESSON #4: IT IS ENTIRELY POSSIBLE TO SEE A MOVIE’S FAULTS AND STILL RECOMMEND IT AND ENCOURAGE AN AUDIENCE— At no point was I shouting from any mountaintop that people shouldn’t see Toy Story 4. With Lesson #3 in mind, my review was not about “love” or “hate” or “like” or “dislike.” I didn’t and wouldn’t use those words and I dare you to find one in my piece. Kyle Smith of the National Reviewwas far less kind than me.  Reviewing a movie for me is more than the emotional takeaways. I go deeper. I don’t hate Toy Story 4. I even don’t dislike Toy Story 4. I’ll recommend people see it and form their own opinion until the cows come home. I’ll use Lesson #5 to explain my review points. 

Image from comicbook.com

LESSON #5: IT’S ABOUT EFFECTIVE VERSUS INEFFECTIVE— For all the people who ask about a part or point of my review, my answer has been talking about effectiveness instead of hate or dislike. That’s me trying to apply objectives to the subjective and maintaining the mindfulness from Lesson #3. There are more narrative choices, plot points, character moments, repetitive tropes and more than I flatly found ineffective rather than effective for several reasons. I spell them out in detail in one of the longest reviews I’ve written this year because I knew the need to explain carefully. I’d write even longer if I stepped further into spoilers. Again, see Lesson #3. 

LESSON #6: I’M NOT WRONG AND NEITHER ARE YOU— I’ll partially throw one of the Feelin’ Film hosts under the bus with the use of the word “wrong.”

It’s not about right or wrong. I didn’t write anything wrong. I just wrote something different and carried an opposing opinion. We’re all allowed that and I know I’ve come a long way around my Feelin’ Film circle (Dunkirk and “masterpiece,” anyone?) to be better myself about labels and being receptive. I knew what Aaron White meant (though a few others gave him a slice of shade). and he’s always going to be respected and cool in my book. I thank him for supporting my work, including the space to rant like this every week. 

LESSON #7: INTERNET COMMENTS ARE THE WORST— Boy, oh boy, is the troll side of the internet alive and well. OK. Fine. You disagree with an opinion. Like we all say, it’s just a movie.  What does writing hate do? What does wishing bodily harm to a person and his family do? Does it make your feel better or tough? Does Disney thank you for needlessly defending its honor? Some comments are truly sickening. I’m willing to bet 80% or more of the people who wrote one of the 50+ comments on my review didn’t even watch Toy Story 4. See the movie first then come and really talk. It was quite telling to me how the comments virtually stopped after its Friday debut, where maybe the realization of what I wrote wasn’t all that contrarian and spiteful. Luckily, I’m the type of person that doesn’t absorb that kind of garbage. I know all of it is fake internet courage. 

LESSON #8: NO REGRETS— Cue Scottie. P. from We’re the Millers.  I guested on Ian Simmons’s “Kicking the Seat” podcast talking about Toy Story 4 that week and fellow dais participant (and familiar friend) Emmanuel Noisette of E-Man’s Movie Reviews and The Movie Blog offered an on-air intervention session. He pleaded a little to reconsider my rating and review and to watch the movie again. I’ll certainly be seeing the sequel again with my wife and kids at some point. Maybe I do come around to more like and love, but I remain confident about my review speaking on worthwhile effectiveness. I don’t regret a word I wrote because I did it with honesty, clarity, and integrity. Toy Story 4 loses zero its standing and reputation from me and the other “Rotten” reviews.  The film will do just fine and not a real thing in the world is burnt.  The comments are horrible, but I don’t regret leaving the comment section open. I take all comers and customers. The many rational discussions with critic peers and general friends alike since in real spaces have been wonderful across the board. Shout out to Mike Crowley of “You’ll Probably Agree” for another solid and civil podcast discussion like Ian’s.  If anything, the challenge going forward is to maintain my consistency as a critic, especially on the Rotten Tomatoes platform.  There is a responsibility to that, which I completely understood even before this experience. This review, in a way, can count as a baseline or cornerstone. I must be wary of that and the comparisons possible going forward. This all only makes me want to work harder. Thanks for reading and your support!

THIS ORIGINAL COLUMN POST ON FEELIN' FILM

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MEDIA APPEARANCE: Every Movie Has a Lesson mentioned on ComicBook.com!

(Image: comicbook.com)

I’ve got a full column coming on the way about this whole experience of minor internet notoriety I’ve gained these past two weeks as one of the first and few Rotten Tomatoes-approved critics to give Toy Story 4 a negative or “rotten” review, but, in the spirit of any press counting as good press, Every Movie Has a Lesson was mentioned in a news piece on ComicBook.com recently. Cameron Bolomolo was reporting on the first wave of negative reviews hitting the Toy Story 4 Tomatometer, spoiling a 100% rating. Dubious as some might find it, it was still an honor to be noticed and mentioned respectfully.

THE FULL COMICBOOK.COM ARTICLE MY FULL "TOY STORY 4" REVIEW

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MOVIE REVIEW: Yesterday

(Image: digitalspy.com)

THE 800TH REVIEW OF EVERY MOVIE HAS A LESSON

Official selection of the 7th Chicago Critics Film Festival

YESTERDAY— 4 STARS

It takes quite a unique movie, dare I say even a special one, to take an absolutely preposterous concept and make it wholeheartedly joyful with extra whimsy. That is Yesterday combining Academy Award winner director Danny Boyle with all-star romantic comedy writer Richard Curtis. Know ahead that it is pure farce and fantasy, right there with something like Penny Marshall’s Big. Brush off the eye-rolling salt and you will find beaming smiles of sugar. That is the kind of serendipitous territory this movie zips through for the love letter of love letters to great music and the connecting pop culture we cherish.

A random cosmic electrical accident of happenstance blacks out Earth for a matter of seconds. When the world comes to, Clacton-on-Sea struggling artist Jack Malek (EastEnders mainstay Himesh Patel) is hit by a bus on his bike and entire planet experiences some very selective amnesia. Before this accident, Jack was a wholesale store employee and one step above a busker chasing stardom on any open mic or gig he or his dear friend and hopeless romantic question mark Ellie (Cinderella and Baby Driver darling Lily James) could find. After performing on a side stage at the Latitude Fest for crumbs of people and loyal friends, he decides to hang up his guitar in defeated “if it hasn’t happened by now” fashion before getting on that bicycle ride towards incidental fate.

LESSON #1: PAUSE AND IMAGINE THIS MOVIE’S CONCEPT — Healing up after the accident, Jack learns that the world no longer knows or remembers the music of John Lennon, Paul McCartney, George Harrison, and Ringo Star. Imagine taking any wildly popular thing and having the entire world forget, except you. Imagine the hilarity of shooting blanks on Google searches. Imagine the odd humor where everyone becomes a head-cocking shrug of a “who doesn’t know (blank)?!” joke, once again, except you. Realize that possible knowledge, power, and fun, especially when it’s not just The Beatles that the enormity of public consciousness forgets. If you can fantasize within that realm and forgive a whole heap of logic, you will embrace Yesterday.

Possessing a gold mine of borrowed (or is it stolen) inspiration, Jack begins to record and perform the Beatles catalog as if they were his own creative output. Beginning with a single streamed playlist, his work explodes across social media. His skyrocketing popularity draws the courting attention of superstar Ed Sheeran (playing himself) and oily American music agent Debra Hammer (Saturday Night Live’s MVP Kate McKinnon). With complete and fabled success, each new song from this completely unknown performer captivates audiences at home and abroad.

LESSON #2: WHAT MAKES GREAT MUSIC GREAT? — Himesh Patel’s performances in Yesterday emulate renewed first-time reactions in this present digital and connected age of image-branded fame and instant gratification. Watching this imaginary shooting star story makes you wonder if the Fab Four’s half-century-plus old lyrics and rhythms would capture audiences with the same love and universal appeal as they did in their actual time? Likewise, what makes their music so memorable and significant, the song, the performer, or both? Enjoy that delightful pondering.

LESSON #3: EMULATING GREATNESS — Looking past the fantasy, the pendulum of curse and wish fulfillment in Yesterday narrows to the simplicity of this lesson. We all like to pretend. We all do it with every embarrassing karaoke number, talent audition television program, YouTube cover video, windows-down car sing-along concert, kitchen jam session, and shower solo of a favorite song. There’s no harm in the enjoyment of dreaming. It’s just a matter of how far one takes it because, clear as day, Jack is living and profiting off a lie amid the temptations of money, success, and popularity.

If your logic meter for plot holes is exploding and the initial premise has you tuning out, the cloying romance of Yesterday will likely not help matters. Lily James is luminous and fetching, as always, but she is saddled with the ever-pining love interest role across from a nice guy protagonist with an ungodly level of obliviousness to her. You can’t get mad at her. You can lament over the material that gives her so little independence other than waiting around for the one boy to notice. Cute as it may be with the repetitive silly screenplay interruptions that break the romantic tension over and over (many delivered by the scene-stealing doofus roadie played by Games of Thrones cast member Joel Fry), Yesterday is one place where Richard Curtis and his overused tropes from years of rom-coms are unfortunately tired and reductive.

The saving grace is the beauty and brilliance of The Beatles at the center. Danny Boyle brings his technical prowess and Dutch angles to softer fare than Trainspotting and 28 Days Later and this counts as a welcome, laid back cinematic breeze. The toe-tapping and shoulder-swaying is incredibly contagious with each nostalgic rendition of a familiar ditty or ballad. Without question, loving the music helps you fall for the movie. To say this is a star-making turn for Himesh Patel would be an understatement. Soothing and charming, there is a warm honesty that goes with both Jack Malek’s own wishing and Yesterday’s desire to flat-out put a smile on your face and a song in your heart. Turn the volume up and indulge in such wonderful reverie.

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CAPSULE REVIEWS: Feature films of the first ever Rom Com Fest

(Image: romcomfest.com)

Chicago might have hosted the rollicking Cinemapocalypse this past weekend celebrating the sparkle and splatter of horror, but that’s not this critic’s speed. Give me something spry on the other end of the spectrum. Across the country from June 20-23, Los Angeles hosted the very first Rom Com Fest focusing on the lighter genre on escapism.  Featuring a specially curated “classics” program that included His Girl Friday, 10 Things I Hate About You, and How Stella Got Her Groove Back, that was my kind of party.

Founded by entrepreneur and romantic comedy connoisseur Miraya Berke, the goal is celebrating the joy to be had and the art on display in this undervalued film genre. I think this is a smashing idea for a festival and I jumped at the chance to offer some remote coverage for its five-film competition slate. Compiled below are my capsule reviews for the movies I viewed in order from highest to lowest recommendation:

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IN REALITY

(Image: pendancefilmfestival.ca)

With biting personal commentary and high creativity to bend and break the tropes of romantic comedy, do-it-all talent Ann Lupo has crafted something entirely unique with In Reality. In a very The Secret Life of Walter Mitty fashion meets Eighth Grade ten years later, her film plays like a performed stream of consciousness coming from flighty woman of wavering success and confidence. Lupo plays a semi-autobiographical Ann who decides to make a movie about her most recent and most impactful romantic relationship. Divided into titled chapters scribbled into a journal, In Reality takes viewers through the ups-and-downs caused by the flutter and failure of her time with John (Miles G. Jackson). 

All of the character’s emotions, reactions, and fantasies, from confusion to whimsy, are acted out by Lupo and then hyper-edited by her, co-writer/co-star Esteban Pedraza, and fellow editor Erin Sullivan (Coming Through the Rye) into this extended dream. The pace and construction of this unique project is one of the best editing works of recent years, right there with the details of last year’s Searching. In Reality also shifts speeds, colors, grains, and stocks within all of that construction for a sharp and immersive presentation. You’ve never seen a modern romantic comedy like it. 

In Reality won the Best Feature Film award from the Rom Com Fest and it’s easy to see why. I just cited Ann’s performance this weekend as the best I’ve seen so far this year for David Ehrlich’s weekly IndieWire Critics Survey. Put the on-screen effort right there with Lupita Nyong’o from Us and Tarik Egerton from Rocketman. A true indie gem and artist such as this deserves bigger acclaim and attention. In Reality is available for VOD on YouTube, Google Play, and PantaFlix and it’s worth every penny of that rental.

HIGHEST RECOMMENDATION

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TWO IN THE BUSH

(Image: eventbrite.com)

To borrow from Lupo above, the frank and emotional “reality” of polyamorous relationships is nowhere near as properly explored compared to the warped titilation of someone discounting that status as an excuse for some kind of glorious hot dog threesome fantasy. With proud maturity and still plenty of passion, Two in the Bush presents an honest tale of such a three-wheeled romance. Writer-director Laura Madalinski and her co-writer Kelly Haas made their feature film debuts with this conversation starter of a film that is ready for bigger audience and bigger questions. 

Sarah Mitchell’s Emily finds herself unemployed and single after her documentary filmmaker boss leaves the country and her female partner sleeps with her male best friend. Digging her life up off her friend’s (Chicago actress and comic Melissa DuPrey) couch, she picks up a personal assistant job for Nikki (newcomer Caitlin Aase), an entrepreneur of personalized adult entertainment experiences.  Emily and Nikki endear themselves to each other at the same time Emily becomes smitten with the business’s soulful artist and loyal handyman Ben (dashing TV actor Travis Delgado). The wrinkle is Ben and Nikki are in an open relationship, one that’s willing and wanting to add Emily.

Once again, what is dismissed and devalued in other places as kink becomes a heady love triangle situation in Two in the Bush.  The trials and tribulations on display are interesting and fresh.  The frankness is kindly yet modern. Sure, the film has its rookie challenges and few shorthanded tropes alongside its big ideas, but the honesty is too good to pass up.

HIGH RECOMMENDATION

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ONE BEDROOM

(Image: todaytix.com)

The slice of Brooklyn inhabited by the proud African-American community members in One Bedroom reels from gentrification.  A nice and affordable place to live is rare and pure home ownership among this demographic is even rarer.  To leave an ideal living situation would take quite the catalyst for someone to choose harder and more expensive freedom over supported comfort.  

Melissa (a forceful Devin Nelson, in her feature film debut) has one of those reasons: a break-up beyond its own breaking point.  For the last several years, she has lived with Nate (enigmatic writer-director Darien Sills-Evans), an immature manchild DJ who flirts too much and fails to give the proper attention to Melissa at home.  We are hearing about their story as Nate recounts the happenings of the weekend to his barbershop buddies. One Bedroom debuts the couple on the morning she moves out.  They are stirring from a goodbye pity lay where Melissa is done and ready to go and Nate keeps trying to plead his case for her to stay.  Their arguments and remembrances that follows take us into their story.

To its great credit as a DIY micro-budgeted indie, One Bedroom is higher minded that some piss-and-moan break-up story.  The characters veer close to caricature, but always settle down to be grounded and more real than some Hollywood product that would insist on raunchier content or gags.  Even in a film a shade shorter than 90 minutes, Sills-Evans take the time to provide the background motivations and experiences of these characters before the splitting collision of the present stakes and moments.  That’s a talented writer and filmmaker right there with the potential to do more with greater opportunities. Tip your hat and remember his name.

MILD RECOMMENDATION

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TRACKS

(Image: Raindance Film Festival)

Bounding like a plucky travelogue between two longtime partners, Tracks combines vacation heaven and vacation hell in some of the world’s prettiest places.  Lucy (Tucked’s April Pearson) Chris (relative newcomer Chris Willoughby) are two Brits who have embarked on a rail holiday through Europe with little more than two backpacks and their optimistic spirits.  He is more than a bit of a doltish prick who gets more things wrong than right. She is the practical brains of the operation who has long loved Chris’s dedicated puppy dog mess despite his ne’er-do-well screw-ups.

They are your classic “how are you with so-and-so” odd couple that should probably be either tying the knot to make things permanent or cutting their losses and running for the hills.  This trip tests their love, patience, and mettle in a series of amusing pitfalls, parties, and wrong turns. Despite plenty of bickering and moments of failure, Tracks keeps its tone light and loose.  The improvised banter and back-and-forth dialogue written by Pearson, Willoughby, veteran director Jamie Patterson, and co-writer Finn Bruce is the prime source of that potential merriment.  There are times the movie is as lost as its characters. However, the playful sights and sounds are often very charming.

MILD RECOMMENDATION 

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MEDIA APPEARANCE: David Ehrlich's IndieWire Critics Survey on June 25, 2019

Notable and notorious IndieWire film critic David Ehrlich recently put out a social media call for film critic peers to join a weekly survey to discuss movie topics, answer questions, and highlight their work.  Representing Every Movie Has a Lesson, I, along with over 60 other emerging and established film critics including some of my fellow Chicago Independent Film Critics Circle members and Aaron White of Feelin’ Film, accepted the invitation to participate.  I'm honored by the opportunity, and I hope my responses are chosen each week.  

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THIS WEEK'S QUESTION: With 2019 almost half-over, what is the best movie performance of the year so far?

With June soon swooning to July, critics will start making their halfway and “so far” lists of films and performances. David Ehrlich put performances on the table to measure for this week’s survey and an outstanding list was built. I love the selection of Lupita Nyong’o from Us. She would be my 1A choice, but I was wowed this weekend by Ann Lupo in a little movie call In Reality which just won the top award of the debut Rom Com Fest in Los Angeles. Give this week’s survey a look.

THE FULL INDIEWIRE ARTICLE THIS WEEK

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MEDIA APPEARANCE: Guest on the "Kicking the Seat" podcast talking "Toy Story 4"

It with Ian Simmons of the Kicking the Seat podcast where I no longer feel like an island after watching and review Toy Story 4. He and I sat next to each other at the screening and both shared a great deal of chagrin afterwards. We put that together for his latest podcast episode against the positive interventions of David Fowlie of Keeping It Reel and Emmanuel Noisette of E-Man’s Movie Reviews. In addition to talking out the highs and lows of the movie, I was invited to share my experience this past week of being one of the extremely few “Rotten” Rotten Tomatoes reviews for Toy Story 4. Even among good buddies and their helpful reflections, I remain undaunted in how I feel and what I wrote. Great conversations here for my 20th appearance on Ian’s fine sh Give it a listen!

MY OWN FULL "TOY STORY 4" REVIEW

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EVENT: Scenes from the "Toy Story 4" Ultimate RV event at Navy Pier

Photos by Don Shanahan

This past Friday in Chicago, the “Toy Story 4” Ultimate RV event came to Polk Plaza area of Navy Pier. Sponsored by GoRVing.com, the movie-themed event had an alluring array of free activities. Contestants young and old could spin wheels, take selfies with “Forky,” toss snakes into boots, or throw rings around rockets to win various prizes, Toy Story swag, and even Fandango vouchers for free movie tickets. Every Movie Has a Lesson (and my eager family) was able to get an early peek at the festivities and wanted to share some sights from the sunny display on a perfect June morning, just in time for the movie’s box office debut. Thank you to the fine folks at Disney, GoRVing, and Allied Global Marketing for organizing and providing this lovely family fun!

MY FULL "TOY STORY 4" REVIEW

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MEDIA APPEARANCE: David Ehrlich's IndieWire Critics Survey on June 18, 2019

Notable and notorious IndieWire film critic David Ehrlich recently put out a social media call for film critic peers to join a weekly survey to discuss movie topics, answer questions, and highlight their work.  Representing Every Movie Has a Lesson, I, along with over 60 other emerging and established film critics including some of my fellow Chicago Independent Film Critics Circle members and Aaron White of Feelin’ Film, accepted the invitation to participate.  I'm honored by the opportunity, and I hope my responses are chosen each week.  

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THIS WEEK'S QUESTION: Best animation studio. Ghibli or Pixar. Pick one and only one and why.

Full disclosure: I’ve never seen a Studio Ghibli film, but I know their reputation and impact. I know what they stand for and how much they have inspired other creators, including the fine folks at Pixar. With Pixar settling too often for sequels lately (and this was before Toy Story 4), I feel like a small measure of their quality and importance has faded or shrunk a little. I voted on principle in the blind to what I felt was more important.

THE FULL INDIEWIRE ARTICLE THIS WEEK

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MOVIE REVIEW: Toy Story 4

(Image: nerdist.com)

 TOY STORY 4-- 2 STARS

It could be the first movie, fourth movie, or the 17th of something really extensive, a beneficial purpose needs to be present beyond the business end of selling tickets and what not.  For each movie or chapter at hand, one has to consider if there is a worthwhile story to tell, one that can justify this new effort being a true necessity.  The key word there is worthwhile.  To more specifically judge a sequel in that regard, one has to look where it came from and where it is going.  Toy Story 4 indeed attempts to advance characters and chooses trajectories, but then look backward and forward and ask about value and placement.  Despite the immense talent shining from the recording studio and the animation workshop, the traits and choices of Toy Story 4 lack being worthwhile.

LESSON #1: THE SYNONYMS OF “WORTHWHILE”-- Dissect this important adjective further with its synonyms that offer a range of its possible connotations as a description.  This review will feature five from worthwhile’s Thesaurus.com entry: advantageous, beneficial, constructive, justifiable, and valuable.  All five can be applied to this film.

Advantageous and valuable, in the lucrative sense, are easy because the braintrust of Pixar has been tempted for the better part of a decade to re-open Toy Story after many initially ruled it out following the excellence of Toy Story 3.  Audience interest and earning potential has not faded where this was bound to happen at some point.  Now it’s here and it’s about earning justifiable inclusion and existence.

A few years have passed since our core corps of toys were passed on to hazel-green-eyed Bonnie from the college-bound Andy.  The toddler is now an anxious little girl entering kindergarten after starting to show favor at home towards other playtime favorites than our stalwart cowboy Woody (Tom Hanks).  Even on the dust bunny closet sidelines, the vocal sheriff and leader still sees Bonnie’s happiness as his chief duty.  He sneaks into Bonnie’s backpack for orientation day to be a familiar face and watches her having no luck in making friends or feeling positive. 

Scavenging and sneaking some scraps and art supplies to Bonnie, Woody watches her create a makeshift little character out of a spork, pipe cleaner, stick-on shaky eyes, and other craft materials.  With connection and accomplishment, Bonnie names him Forky and the sprinkle of loveable alchemy that makes Forky a toy to her brings him to life.  The little junker (Tony Hale) becomes Bonnie’s favorite comfort but sentiently believes he’s still trash, a transition of character growth that will come from Woody’s teaching and leadership since the days of Buzz Lightyear (Tim Allen).

LESSON #2: INTERPRET YOUR INNER VOICE-- The first of many possible takeaway chestnuts for the target demographic showing up in droves for this movie is a message on conscience.  Various characters in the movie, between pull-strings and heartstrings, duel with literal and figurative forms of their inner voice and how best to follow it or not.  Good, bad, and questionable choices are made across the board for younger audiences to see as cautionary examples.  This lesson counts as mildly beneficial in the worthwhile department.

All this built-up confidence and protection for Bonnie falls into peril when Forky gets lost on a family road trip to end the summer.  Woody goes after him while Buzz (Tim Allen), Jessie (Joan Cusack) and the others hold down the family RV and stall Bonnie’s parents.  Woody and Forky become sidetracked by the reemergence of his old flame Bo Peep (Annie Potts) who has found a thriving new life as a “lost” toy living independently on her own.  Their reunion and pursuit intersects with the forgotten toys of an antique store led by Gabby Gabby (Christina Hendricks), an unwanted pull-string doll with a broken voice box and a gang of extremely creepy slick-haired suits at her disposal, who have taken Forky captive.

LESSON #3: BEING LOST VERSUS BEING FREE-- In unison with Lesson #2, Disney has always had a tendency to over-highlight their chosen morals and themes. The “lost” fear here in Toy Story 4 is the first of two teachable concepts and plot ingredients that are beaten to death, even by Mouse House standards.  Much fluster and bluster is expressed for avoiding becoming lost, helping the lost, and/or getting over something lost.  All the while, and very true to the human condition paralleled through these cherished toys, there is a potential sunny freedom possible in being unbound that seeps in clouding motivations and futures. Still, it’s an overplayed point.

Circle back to purpose.  The first Toy Story was groundbreaking and its stellar sequel strengthened and expanded its world-building beautifully.  The keenly nostalgic third film wisely and perfectly brought everyone and everything further to a mature, impactful, and fitting conclusion.  Continuing a journey that had an ending for a questionable transition such as this, Toy Story 4 does not match or exceed where it came from, not when repetitiveness and disconnection reign.

Eight creators, ranging from departed Pixar chief John Lasseter to the clever Celeste and Jesse Forever writing team of Rashida Jones and Will McCormack, are credited with this hodgepodge story ineffectively narrowed by the credited screenwriters of Pixar vet Andrew Stanton and new voice first-timer Stephany Folsom.  This feels like eight or more ideas that all distract and tangle each other up to failing points.  Because of stature and importance, it is difficult to positively describe the result as constructive.  Unnecessary is a very tempting label, one that is probably too strong, but it is very close.

Both within the Toy Story franchise and beyond in other family films, we’ve seen the self-urgent dalliances and pitfalls of a manic need-to-get-back-home adventure endless times now.  As the fourth film following what was serene closure, this counts as unjustified and even misguided.  Cutely twitchy as he is, Forky is no better than a mini MacGuffin to force action and the mad cap spins become excessive by the time the movie culminates in a rehash Finding Dory’s vehicular takeover action finale.  Likewise in the opposite direction, the Gabby Gabby tangent comprising the movie’s meaty middle is long-winded and ineffectual, even with a redemptive ending we can see coming.   

The curveballs and new guest characters, ranging from a motorcycle stuntman action figure (Keanu Reeves) and carnival prize pair of stuffed animals (Keegan Michael Key and Jordan Peele) and a few others, are certainly cute thanks to their casting personalities, but paper thin as merely and predominantly additions of comic relief.  Even with a semi-exciting pre-credits rescue sequence revealing Bo Peep’s fate between the events of Toy Story 2 and Toy Story 3, the swelling and positive female empowerment of the returning shepherdess that was an afterthought before this movie takes away from the established core on the sidelines like Buzz, Jessie, and more who carry more lasting care.  For example, had this been applied to Jessie or if the entire movie was more Toy Story 2.5 instead of a final one unwinding the catharsis of Toy Story 3, this all might have played better for justification and continuance.

Let’s not kid ourselves.  Of course, all the talent in the world is here. The movie looks and sounds like a billion bucks. That said, story and purpose matter more than prowess at this point. Throughout this entire series, this has always been about the over-dramatic Woody correcting a personal flaw first and anything else second.   His nobility to always be there is incredibly honorable.  All arcs lead to him and Toy Story 4 is truly a unique and daring transition point for that character.  However, it is elevated, again, at the expense of his partner Buzz and the rest of the toys who once hand-in-hand bonded with shared fates.  Tom Hanks can carry that moment, but the punch, the famed “Pixar Punch” this writer and website has long touted and celebrated, misses in a way that may perplex younger children and raise an eyebrow in the escorting adults asking why this matters.

LESSON #4: KNOWING TIMELINESS-- The progression of Woody is what brings the second simplistic and prescriptive nugget over-hammered by Toy Story 4.  Implored loudly in some moments and reflecting softly in others, the lament of knowing it’s time, knowing your time, or being ready for either state is overflowing in every direction towards Woody.  It’s a high hurdle for the plastic protector and apparently one for the filmmakers themselves too who didn’t know when or how to leave this all be.

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