Movie Review Shazam Fury of the Gods

Shazam Fury of the Gods (2023) 

Directed by David Sandberg

Written by Harry Gayden, Chris Morgan 

Starring Zachary Levi, Helen Mirren, Lucy Liu, Adan Brody, D.J Cotrona, Meagan Good, Rachel Zegler 

Release Date March 17th, 2023 

Published March 20th, 2023 

Just as James Gunn is about to explode the D.C Universe, Shazam Fury of the Gods arrives to recall the Snyder-verse heyday as seems to be coming to an end. Yes, we still have an Aquaman sequel and a Flash movie in our future, but the path being cut in the D.C film universe still appears to have reached an end. Whether that is a good or bad thing is entirely subjective to your feelings about D.C's scattershot personification of superheroes in the movies. Sometimes the D.C Universe is dour and bleak and sometimes the D.C Universe is broad and goofy and nothing D.C has done has married these disparate tones despite the a clear sharing of characters across movies definitively linking the movies together. 

Zach Snyder's vision of D.C's future as a wasteland ruled over by a bitter, out of control Superman still clashes violently with the vibrant, colorful and childlike wonder of Wonder Woman 84 and especially Shazam which leans further into the candy color of childhood with Shazam Fury of the Gods. Where Snyder eagerly drained the world of color, going as far as to make black and white versions of his films, Shazam and its sequel, clearly exist in a coloring book universe of childlike imagination and bright, bright colors. Fury of the Gods even has unicorns, albeit, scary snorting, warrior unicorns, they're still unicorns and that flies desperately in the face of Snyder's self-serious to the point of parody vision. 

Perhaps that is why Shazam was never glimpsed in any of Batman/The Flash's visions of the future. There is no place in that universe for an angst-riddled, slacker, dreamer like Billy Batson. Shazam is the guy who would get too confident and get himself absolutely killed by an angry Superman. That actually tracks with the bleakness of the Snyder-verse, now that I am thinking of it. Evil of the future would totally demolish the young heroes of Shazam Fury of the Gods, a group who still marvels over their own powers and obsess about their superhero names. Well, now that I have talked myself into how the D.C Film Universe actually makes sense, via the likely horrific future death of Billy Batson and his family, let's talk about Shazam Fury of the Gods. 

As we join the story, a pair of women dressed as ancient warriors have entered a museum to retrieve a staff. This staff had been used by the big bad of the last Shazam movie. In that film, spoiler alert, Billy Batson busted the staff on the assumption that breaking it would destroy its world destroying magic. What Billy could not know was that the magic in the staff was all that was keeping sisters and ex-Gods, Hespera (Helen Mirren) and Kalypso (Lucy Liu), from entering the human realm. With the staff broken, the sisters come to Earth, reassemble the staff and proceed to murder a museum full of people. These deaths are never referenced again. 

Read my full length review at Geeks.Media 

Movie Review Jennifer's Body

Jennifer's Body (2009) 

Directed by Karyn Kusama 

Written by Diablo Cody

Starring Megan Fox, Amanda Seyfried, Johnny Simmons, J.K Simmons, Amy Sedaris, Adam Brody

Release Date September 18th, 2009 

Published September 17th, 2009

Megan Fox is a beautiful woman who could coast through a very successful, if somewhat short, career if she chose. In fact, that is exactly what she did in her two biggest roles in the two Transformers movies. Her latest effort however, the horror film Jennifer's Body, requires a little more work than giant morphing robots.

Written by Oscar winner Diablo Cody this teen horror flick combines gore and humor in ways so complex some audiences won't know whether to laugh or recoil.

Megan Fox plays the Jennifer of the title. The head cheerleader and front runner for Prom Queen, Jennifer's one indulgence is her best friend Needy (Amanda Seyfried). Needy is on a completely different stratosphere from Jennifer but since they were friends as very young girls, they've stayed close.

When Jennifer takes Needy to a local, small town bar the plot kicks in. A rock band on the rise, lead by the O.C's Adam Brody, see Jennifer as their ticket to stardom. After an accident nearly kills everyone in the bar, the band offers Jennifer a ride home and she nearly doesn't survive it.

After a bizarre night in which Needy is haunted by something looking like her best friend, Jennifer is back at school the next day looking better than ever. The only difference is, she's now a cannibal demon, a succubus who eats boys. After snacking on a football star and an emo wannabe, Jennifer sets her sights on Needy's nerdy boyfriend.

The confrontation is well built and plays out entertainingly enough with Seyfried easily holding the screen with Fox, even as Ms. Fox goes all demony. However, both actresses take a backseat to writer Diablo Cody's pop savvy dialogue and Director Karyn Kusama's curious horror/comedy tone.

Jennifer's Body doesn't really know what it wants to be. The movie is played for dark laughs as it keeps a lighthearted tone not unlike Cody's Oscar winner Juno. However, even as things are light and breezy Jennifer is eating people and leaving behind a bloody mess.

This mix of gore and humor could work if the film were a little nastier. More Mean Girls Less My So Called Life. That is Mean Girls if Rachel McAdams character were a man eating demon. The template is Heathers, the 1989 black comedy starring Winona Ryder and Christian Slater. That film had the guts to get mean and allow the actors to dig into the ugly sides of their characters.

Jennifer's Body is damn near good natured even as the body's pile up. The final confrontation brings the violence as it should but by then the film has already failed to compel. Too often Jennifer's Body falls back on the clever dialogue and insightful human notes of Diablo Cody. That was good in Juno but in a horror comedy we need something more.

We need atmosphere, a consistent tone and a scare or two. Jennifer's Body is sunny when it should be dark and flat when it should be sharp. It's often funny but grows awkward when it comes time for the scars. Too bad, there are some strong elements in Diablo Cody's script and a pair of stars who seem like they were capable of more.

Movie Review Life Partners

Life Partners (2014) 

Directed by Susanna Fogel 

Written Joni Lefkowitz, Susanna Fogel 

Starring Gillian Jacobs, Adam Brody, Leighton Meester, Greer Grammer, Gabourey Sidibe 

Release Date December 5th, 2014

Published December 25th, 2014

Making room in life for our people's people is not an easy thing. No man has lived without the experience of the girlfriend or even wife of the long time friend who's intrusion into their life is among the most significant disruptions in their life. When my best friend got married he was already moved away and living apart from me which actually made the transition in our lives easier. His wife and I are Facebook friends and get along splendidly on holidays. 

Other friends have married and the transition has been bumpy, awkward and on more than one occasion the friendship simply vanished. The thoughtful, funny new movie "Life Partners" is about a significant life-interruptus moment for a pair of female friends whose co-dependency was a defining trait. 

Sasha (Leighton Meester) and Paige (Gillian Jacobs) are the kind of friends who are announced as one person upon their arrival, as if Sasha's last name were And-Paige. They have jokes so deeply inside that to introduce them to others is to mystify them further. Take their obsession with the pop institution known as "Top Model." I doubt 'Model' host Tyra Banks could keep up with the stream of giggling asides Sasha and Paige cram into just a couple of scenes. 

So, when Paige meets and hits it off with Tim (Adam Brody) we know Sasha is about to take a serious loss. Tim is affable and has a good map for Paige's weirdness in the same way Sasha does; turning them, naturally, into competitors for Paige's attention. Of course, Tim is going to win; the plot has kicked in before the end of the first act and we know that the subject of the film is how we deal with our friend's new friends. How Sasha comes to cope with Tim while forging her own new bonds and longing for her bond with Paige is how the story will play out. 

That Sasha also happens to be a lesbian is surprisingly unimportant. Just ten years ago a filmmaker would be forced by convention to play on a secret longing Sasha has for her best friend to also become her lover. Here however, we have not a boundary breaking movie but rather a movie that is knowledgeable enough and modern enough not to bother with such old school thinking. Sure, it comes up, but only in a bitter, thoughtless tirade from an angry supporting player. 

No, director and co-writer Susanna Fogel is forward thinking enough not to waste time with the sexual politics and focus on two friends growing up, growing apart and growing together again. Maturity comes from learning that you aren't the center of everyone's world and that your people's people are also the star of their own story and not a supporting player for your wants and needs. It's only when Sasha stops seeing Tim as the villain in her story that she can mature and move on and make her way forward with Paige as two adult friends. 

I've been waiting for a movie like this for a long time. I've often wondered when someone might tell a story about friends and friends of friends that isn't some vacuous series of dinner party conversations or some trifling mumblecore B.S masquerading hipster ideas of friendship as deep insights. "Life Partners" is a movie for people struggling to grow up and then finally, actually growing the fuck up. What a refreshing notion. 

Movie Review Grind

Grind (2003) 

Directed by Casey La Scala 

Written by Ralph Sall 

Starring Mike Vogel, Vince Vieluf, Adam Brody, Jennifer Morrison, Tom Green 

Release Date August 15th, 2003 

Published August 15th, 2003

No one will believe me now but it's true. Years ago, I predicted that one day filmmaking would be completely taken away from the artists and given over to the marketing departments of major studios. They will operate without scripts and shot lists, only posters and taglines. They will thinly outline the most marketable elements necessary to sell the film to the selected demographic. They will test market everything right down to the individual lines of dialogue for the maximum marketability. Well the final product of this marketer's wet dream is finally in theaters. Grind is the very first movie made entirely by marketers and unspools like the 90 minute commercial it is.

Let's cut to the chase, it's about four guys who's goal in life is to become pro skaters like their hero Jimmy Wilson (one of the London brothers, it doesn't matter which one). They believe that if they can show Jimmy a tape of their skating he will invite them to join his tour. So like Grateful Dead fans, they begin tailing the tour in a beat up van. All the while they’re chasing female models cast as extras and just missing their hero at each stop.

Along the way there are unnecessary cameos by Tom Green, Bobcat Goldthwaite and Stephen Root doing an odd variation on his character from Office Space. The cameos do nothing to add to this mess and Green's appearance actually brings the film to a screeching halt. Green is such an oddball you must wonder if his character was a practical joke on his part that the producers didn't get and left in the film. I honestly believe Green is that smart, and I had a lot of time to develop that theory as the film grinded away through another banal skating exhibition.

I'm not sure if it was the way the film was edited or if the skating was that dull but I was bored even during what the film was all about, the skating. I haven't been on a skateboard since I was 14 years old and I broke my tailbone, but you don't have to be a fan of the X Games to be unimpressed by the skateboard exhibitions in Grind. Only a cameo by Tony Hawk shows any real talent. Of course the skateboard stuff might have been good but with the way it was shot and edited we won't ever know. What ended up on the screen was not very impressive.

Grind functions as a sports movie, it even has a big game at the end, though it's entirely inconsequential. The sports movie clichés are mixed in between fart jokes and banal dialogue about friendship and being a team.

The cast doesn't come off as badly as their skateboarding talent. Each of the four leads has a modicum of charm but any shred of good acting was left on the cutting room floor. Only Joey Kern as Sweet Lou makes any real impression, his relaxed humor provides the film’s few bright spots. Novice Eric Rivers has the film’s main role and at best I can say I didn't hate him. That said, his bland performance is exactly what the marketers were looking for, good looking, vague, banal and inoffensive. He's not so bad that it's memorable but he's not so good either.

As I write this Grind has failed miserably at the box office. It's a minor victory for artists over the marketing overlords, but they will be back. Armed with their demographics and market research.

Be afraid, be very afraid.

Movie Review In the Land of Women

In the Land of Women (2007) 

Directed by Jon Kasden 

Written by Jon Kasden 

Starring Adam Brody, Kristen Stewart, Meg Ryan, Olympia Dukakis, Makenzie Vega 

Release Date April 20th, 2007 

Published April 25th, 2007 

As a writer myself, I am naturally sympathetic to writers as characters. I was seduced by Sideways because Paul Giamatti's sad sack, unsuccessful novelist, hit just a little close to home. Barton Fink is an almost impenetrable piece; but for the writers of the world it's a work of uncompromising genius because it's about a writer.

So, I was destined to identify in some way with Adam Brody's Carter in the new movie In The Land of Women. As a heart broken writer myself, I can easily relate to the selfish, self loathing, self centered sadness that leads one to write either wondrous prose or sad pathetic trash. Carter's writing is left purposefully vague but the writer's angst is written on Brody's face in a star-making performance.

As Carter Webb; screenwriter for 'feature length softcore erotica', Adam Brody captures that writer's longing to take what has been so desperately percolating in his brain and communicate it to a world he just knows will understand its genius. In Carter's case it's a story about his time in a pricey private high school; far removed from the typical high school experiences of the John Hughes variety.

He's been trying to write this story for years but can't find the words. He will put this story further to the side when his actress girlfriend, Sophie (Elena Anaya), gets her big break and dumps him. Devastated and looking for an escape; Carter takes up an offer to care for his grandmother, Phyllis (Olympia Dukakis), in a tiny Michigan suburb; miles and miles away from his disappointments in Los Angeles.

On his arrival in Michigan Carter finds his grandmother living in filth and slightly demented. On the bright side; his neighbors are a fantastic group of women. There is Sarah (Meg Ryan), mother of two wonderful daughters and the wife of a louse who she knows, without actual evidence, is cheating on her. Smart and headstrong and more than a little quirky, Sarah is the first to befriend Carter when he moves in.

Sarah's daughter Lucy (Kristen Stewart) is equally resourceful and headstrong but far more impetuous than her mother. She takes on Carter after her mom asks her to take him to a movie. Lucy's little sister Paige (Mackenzie Vega), is a strange little thing, funny but just slightly off in every way. This quirky trio each bring Carter into their confidence for their own reasons and through them Carter finds some of the fulfillment his life was lacking.

If you aren't rolling your eyes at that description then you are quite generous. My description doesn't quite do justice to the more subtle pleasures of In The Land of Women. Don't get me wrong, my description is accurate, but thanks to a talented ensemble, the more ugh-worthy moments become palatable and the truly enjoyable moments will have you smiling till the end.

Jonathan Kasdan is the progeny of Hollywood royalty. His father, Lawrence Kasdan, directed Body Heat, The Big Chill and Grand Canyon. Brother Jake Kasdan is a rising star, writer and director in his own right; whose Zero Effect is an underappreciated gem. The pedigree gives Jonathan a professional edge and that professional edge is not just the rub of a famous family.

Jonathan is a legit talent, smart with his camera with a good sense of control over his storytelling. He needs to work on his pacing; at times In The Land of Women drags; nearly to a halt; but, for the most part, the good natured spirit and a very talented ensemble carries over the boring aspects. The story is a little ham-fisted thanks to a couple of truly melodramatic plot points, the disease of the week, and the conveniently evil spouse, but, with time, I'm sure, Jon Kasdan will eventually work out the kinks.

Like his director, Adam Brody is a legit talent. The kid languished for a few overly ironic seasons on TV's The O.C. Now with the yoke of weekly teen melodramatics off of his shoulders he really shows what a funny, sardonic and appealing actor he truly is. His Carter Webb is a lovable sort who has your sympathy from his first pathetic whimper to his final irony laced smile.

Reminiscent of a young Tom Hanks in the looks department, he could be the heir to the throne that Robert Downey Jr was never able to claim. Filling the void of the generation's sad comic voice, Brody is angst rendered in flesh with the perfect sardonic armor and just good looking enough to be appealing beyond his humor. Downey Jr. was set to become to the 80's teens what Brody could be to this upcoming generation, a hipster icon.

Against my better judgment, I liked much of In The Land of Women. The melodramatic elements can be a little irritating and overwrought, and the film drags a bit in the middle but the overall movie works. It works because Jon Kasdan is a director with a passionate voice and a genuine love of these characters and because of a tremendously talented ensemble lead by rising star Adam Brody and a strong comeback performance by the lovable Meg Ryan.

No need to wait for the DVD, take someone you like to see In The Land of Women.