Movie Review Thor Ragnorak

Thor Ragnorak (2017) 

Directed by Taika Waititi 

Written by Eric Pearson, Craig Kyle, Christopher L. Yost 

Starring Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Idris Elba, Jeff Goldblum, Tessa Thompson, Karl Urban

Release Date November 3rd, 2017 

Thor: Ragnorak is a heck of a lot of fun. Director Taika Waititi is the first director to fully tap the potential of the Thor character and star Chris Hemsworth. Though we’re aware from The Avengers’ movies that Hemsworth is a real talent, he’s not had a solo, leading man effort that has lived up to the outings of Robert Downey Jr. as Iron Man or Chris Evans as Captain America. Even Tom Holland had schooled Hemsworth by making his Spiderman: Homecoming this past summer one of the best reviewed and well-loved movies in the Marvel canon.

Thor: Ragnorak picks up with our hero having still not returned to Asgard, nursing a fear that his presence may be what leads to Ragnorak, the Asgardian apocalypse. The visions that plagued Thor in Avengers: Age of Ultron have kept him moving about the universe in search what may be the source of his paranoid visions of the end of his world. The opening scene, however, has left him still unsatisfied but with only one alternative, finally returning to Asgard.

We already know what is waiting for Thor on Asgard as we recall Loki (Tom Hiddleston) had usurped his father, Odin (Anthony Hopkins), and taken on his likeness in order to rule Asgard. When Thor returns, Loki’s ruse is quickly uncovered and the search for Odin is on. What the brothers find however, is their father in the last moments of his life. Odin is dying and nothing can stop that. Worse yet, his death means the return of Hela (Cate Blanchett), The Goddess of Death.

Odin’s life force is all that has kept Hela at bay for centuries but without him she will return and Thor and Loki will not be able to stop her. There are a few major secrets that come to light with Hela but I won’t spoil them here, the secrets don’t matter all that much but they’re still secrets and this is intended as a spoiler-free review. Thor and Loki are quickly defeated in their first encounter with Hela leading them both to land on a strange scavenger planet where Loki charms the planet’s ruler, played by Jeff Goldblum, while Thor is turned into a gladiator and forced to battle an old friend who's been on the planet for some time and doesn’t immediately recognize his old friend.

Find my full lengh review in the Geeks Community on Vocal 

Movie Review The Listener

The Listener (2024) 

Directed by Steve Buscemi 

Written by Alessandro Camon 

Starring Tessa Thompson, Rebecca Hall 

Release Date March 29th, 2024

Published March 26th, 2024

The Listener stars Tessa Thompson as the employee of a suicide hotline. A former drug addict, a few years removed from a prison sentence 'Beth,' as she calls herself on the calls she takes, uses her personal experience to relate to the numerous people who call her for a listening ear. Beth works the overnight shift, the busiest time of the day for potential suicides. The calls she takes take a toll on her, but she stays at it because she knows what it is like to be at the lowest of lows. 

Find my full length review at Geeks.Media 

Movie Review Creed 3

Creed 3 (2023)

Directed by Michael B. Jordan 

Written by Keenan Coogler, Zach Baylin 

Starring Michael B.Jordan. Jonathan Majors, Tessa Thompson 

Release Date March 3rd, 2023 

Published March 2nd, 2023 

Creed 3 is an exceptional film. The culmination of the Rocky/Creed franchise, directed by star Michael B. Jordan, brings not only the story of Adonis Creed to a close but, indeed, the complete evolution of the Rocky franchise to a place of peaceful self realization. A conversation about masculinity, emotional vulnerability, and the various healthy and unhealthy was that men, specifically, process complicated emotions and long term trauma, reaches a place of genuine catharsis in the story of Adonis Creed and his opponent, Diamond 'Dame' Damian Anderson, played by Jonathan Majors. 

Creed 3 opens with a seeming ending. Adonis Creed is having his final fight. Fighting in the famed arena in South Africa where Muhammad Ali had his greatest triumph, Adonis ends his career as the undisputed World Boxing Champion. Cut to three years later and Adonis seems to find that retirement suits him. He's spending a healthy and loving amount of time with his lovely wife, Bianca (Tessa Thompson, and his beautiful daughter, Amara (Mila Davis-Kent), lovingly and gracefully adapting to life as a father to a young hearing impaired child. 

Signs of Adonis' healthy transition to life post-boxing are everywhere including in his professional life working as a boxing promoter. Adonis is training the next generation of fighter including the latest Undisputed World Champion, Felix Chavez (Teofimo Lopez), who is about to fight Creed's former foe turned friend, Victor Drago (Florian Munteanu). Naturally, since all is going so well in Creed's life, he's being set up for a major complication. 

Find my full length review of Creed 3 at Geeks.Media 

Movie Review Sorry to Bother You

Sorry to Bother You (2018) 

Directed by Boots Riley

Written by Boots Riley 

Starring LaKeith Stanfield, Tessa Thompson, Danny Glover, Terry Crews, Patton Oswalt, Armie Hammer, David Cross, Steven Yuen, Omari Hardwick, Jermaine Fowler

Release Date July 6th, 2018

Published July 6th, 2018

Sorry to Bother You is among the most bracing and stupefying movies of this century. Directed by Boots Riley, no film aside from perhaps Get Out, has felt this alive in this moment of our shared American history. This absurdist masterpiece about identity politics, corporate greed, liberal guilt and moral licensing, works on so many unique levels of satire it can be hard to keep up with but it’s damn sure worth trying to keep up with.

Sorry to Bother You stars LaKeith Stanfield, a star of the aforementioned Get Out along with equally of the moment series Atlanta on FX. Stanfield plays Cassius Green, a lean and hungry young man, quite literally hungry, he has almost no money, who we meet as he attempts to lie himself into a new job. Cassius is applying to work at a telemarketing firm and once hired he finds himself struggling to make sales.

Then, an older telemarketer, Langston (Danny Glover), gives Cash some very important advice, use your white voice. Here’s where the transgressive kick of Sorry to Bother You kicks in. Immediately, Langston gets on the phone and the surreal voice of Steve Buscemi is coming out of the mouth of Danny Glover. Soon, Cash gives his white voice a shot and he’s a natural with the voice of David Cross laying over that of LaKeith Stanfield.

This is the first layer of the identity politics satire at play in Sorry to Bother You. It gets a great deal more intense after that, after Cash realizes how powerful he can be with his ultra-confident white voice. Soon, Cash is promoted to Power Caller and is working in a pampered office with a six figure salary while his friends, including Union organizer, Squeeze (Steven Yuen) and girlfriend, Detroit (Tessa Thompson) are left behind to try and fight for more pay without the power of Cash’s earning power to help their position.

Cash’s rise through the ranks is rapid and he soon catches the attention of the company’s biggest client, a slave labor corporation known as WorryFree. WorryFree CEO Steve Lift (Armie Hammer) is a psychotic mashup of Martin Shkrelli and Elon Musk, with just a dash of Jeff Bezos’ union busting egotism. Whether intentional or not, the notion of Worryfree signing workers to lifetime contracts that offer them room and board in exchange for permanent employment feels like a shot at Bezos and the conditions he’s rumored to have created for Amazon warehouse workers.

Then again, the way it is framed, the corporate satire could play off of any number of modern, soulless, labor busting CEOs. Where this satire winds up is a stunner of transgressive ideas that are terrifyingly and yet hilariously staged. Sorry to Bother You is wildly unpredictable  and boldly weird, a refreshingly artful and funny mix. A scene featuring a party at Lift’s house features one of the most explosive and uncomfortably real scenes I have ever witnessed.

The scene is textbook moral licensing, a concept wherein people, or a group of people, excuse their worst behaviors by doing something they feel is moral or selfless. In this case, allowing Cash into their world gives the white people at Lift’s party, in their minds, the moral license to ask him to demean himself and his race for their amusement and it's okay because they claim he is now one of their peers.

We aren’t finished though with the multiple levels of transgressive satire in Sorry to Bother You. Boots Riley turns social science into a gorgeous work of art. With an incredible cast that also includes a stellar performance by Tessa Thompson and a horrifyingly pitch perfect villain turn from Armie Hammer who combines the worst qualities of the billionaire class and amps them with eye-bulging energy.

President Calvin Coolidge famously said of D.W Griffith’s Birth of a Nation that it was “History written with lightning.” I’m taking that statement away from Griffith’s racist screed and giving it here to Boots Riley Sorry to Bother You. THIS is history written with lightning, just history that is in progress, as we speak. This film is a bolt of lightning to our collective soul, an electrifying and vital work of art.

The more we allow corporate greed to separate itself from moral guidance, the closer we get to Sorry to Bother You. The more we condone or fail to recognize moral licensing, the closer we get to the vision of Sorry to Bother You. We need to recognize these things and Sorry to Bother You is a clarion call to recognize these vital issues and its artfulness is a hilarious and horrifying guide to the kind of moral rot that could be our future if we fail to change.

Identity and politics and satire all in one package, Sorry to Bother You deserves Academy Awards for Best Picture, Best Director, Best Actor for Lakeith Stanfield, Best Supporting Actress for Tessa Thompson, Best Supporting Actor for Armie Hammer, Best Director for Boots Riley and Best Screenplay, among other awards. That’s how incredibly brilliant Sorry to Bother You is. I haven’t seen a movie this excitingly, scathingly, bravely, transgressive as this in my life and I am excited this exists.

Movie Review: Tyler Perry's For Colored Girls

Tyler Perry's For Colored Girls

Directed by Tyler Perry

Written by Tyler Perry

Starring Tessa Thompson, Phylicia Rashad, Anika Noni Rose, Thandie Newton, Kerry Washington, Whoopi Goldberg, Janet Jackson

Release Date November 5th, 2010

Published November 5th, 2010

For all of his faults as a filmmaker, Tyler Perry has guts. Perry is a principled artist who delivers stories his way on his terms and has made a mint doing it. Critics be damned, Tyler Perry is one of the most successful filmmakers of the decade and he’s never had to compromise his vision to get there, whether you enjoy his vision or not.

Perry’s latest daring bit of storytelling is easily his biggest gamble, even bigger than dressing in drag to play Madea. “For Colored Girls'' is an attempt to corral a 20 piece stage poem into a single dramatic narrative. Nearly a dozen different actresses, often breaking out in poetic verse, going through some of the ugliest trials ever brought to screen for dramatic entertainment. It’s bold, it’s daring and it's a massive failure but it’s Tyler Perry’s unquestioned vision onscreen.

There are seven lead performances in “For Colored Girls.” They include Janet Jackson as a tyrant magazine editor dealing with a distant, possibly gay husband. Jackson’s assistant played by Kimberly Elise is an under-employed woman carrying a jobless, abusive husband and two kids. Her neighbor played by Thandie Newton is bartender who deals with childhood trauma with an endless line of sex partners.

Newton’s sister is played by Tessa Thompson and is an aspiring dancer with an accidental pregnancy. Their mother played by Whoopi Goldberg is a damaged woman whose own childhood drama sent her spiraling toward lunacy in some cultish religion. Thompson’s dance teacher, Anika Noni Rose, is a loving trusting soul who finds herself on the wrong side of the wrong man. Finally, Phylicia Rashad stars as an apartment manager slash den mother.

There are other roles as well for Kerry Washington as a social worker struggling to conceive and singer Macy Gray as a back alley abortionist as frightening as such a figure likely should be. Wrestling all of these characters into one narrative is a Herculean task. Add to that some spontaneous poetry and crushing dramatic turns involving murder, rape, abortion, Aids and spousal abuse and you have movie incapable of withstanding its own weight.

“For Colored Girls” is what you might call emotion porn. Tyler Perry crams every possible trauma into “For Colored Girls” and pummels the audience with poetic glimpses of women in the darkest depths of despair until even the most remote audience member can’t help but shed a tear. It’s the false emotion of manipulation but even if each tear is surgically extracted, they are there.

The cast of “For Colored Girls” is phenomenal with veteran Rashad as the stand out. Rashad’s character is Perry’s own invention, a narrative convenience used to tie otherwise disparate characters together. Her apartment is located right between those of Elise and Newton’s characters and she hears everything. Still, Rashad gives this character a rich emotional life. She is the beating, broken heart of “For Colored Girls.”

The rest of the cast is too busy being decimated by the Jovian burdens each is asked to carry. The despair visited upon these characters is an anchor that cannot be raised. Each actress at the very least is given a moment to shine but because that moment comes in poetic verse it resonates more as a stand alone monologue than as part of a narrative.

This is the bridge that Tyler Perry cannot cross in “For Colored Girls;” trying to make actresses breaking out into spontaneous poetic monologue feel like a natural dialogue in a typical narrative drama. He would have been better off breaking convention; take the poetic moments to a stage and break the fourth wall. Instead, Perry chooses to try to make it just like any other film drama and the effect is disjointed and unsatisfying.

Undoubtedly moving, “For Colored Girls” finds moments of great emotional force. All is undone however by a conventional approach to highly unconventional drama. “For Colored Girls” is bold and daring but fails because it was not bold and daring enough. Attempting to force all of this emotion into a singular narrative, especially one as conventionally staged as this, is a fool’s errand and it sinks an otherwise powerful idea.

Tyler Perry wildly misses his target in “For Colored Girls” but you have to respect the attempt. Few filmmakers would have the guts to even attempt to bring a complex, Female led, stage poem to the big screen. It’s fair to wonder if other filmmakers recognized how un-filmable this material is but it took a lot of guts to try and Perry’s effort has to be praised. Perry fails in “For Colored Girls” but he failed fearlessly and spectacularly.

Movie Review Men in Black International

Men in Black International (2019) 

Directed by F. Gary Gray 

Written by Art Marcum, Matt Holloway 

Starring Tessa Thompson, Chris Hemsworth, Emma Thompson, Liam Neeson, Rafe Spall 

Release Date June 14th, 2019 

Published June 13th, 2019 

Men in Black International stars Tessa Thompson as Molly. As a kid, Molly witnessed the mythic Men in Black neuralyzer her parents after their home was invaded by an alien. Molly avoided the mind erasing and developed a single-minded obsession with finding aliens and becoming part of the Men in Black. Cut to adult Molly and she is still seeking the Men in Black. She has dedicated her life to finding her way into the super-secret secret agency and her opportunity has finally arrived.

Molly uses her computer hacking skills to locate an alien that is returning to Earth, with a nod to the Weekly World News tabloid, a callback to the original 1997 movie which posited tabloid alien stories as real stories. Molly's investigation stumbles over the MIB HQ and she invites herself inside. Once inside, after a chat with Emma Thompson’s MIB boss, a character introduced in MIB3, she gets Molly a probationary gig as an agent.

As Agent M, Molly is assigned a task in the London office where she will be partnered with long-time agent, Agent H (Chris Hemsworth). Agent H is a bit of a washout. Something happened the last time that he saved the world and he’s never really recovered. Since then, he’s bounced around from case to case, narrowly avoiding being killed and generally being a pain in the backside for his boss and former partner, Agent T (Liam Neeson), cheekily referred to as High T.

Together, Agents M and H go on a worldwide whirlwind that takes the duo from London to Morocco, to the lair of a criminal dealing in Alien technology, Riza, played by Rebecca Ferguson, and to Paris where the Eiffel Tower serves as a bridge for the worst aliens in the world to attempt an invasion that is being coordinated by a rogue MIB agent. M and H must find the rogue Agent and prevent the alien invasion while overcoming M’s inexperience and H’s broken spirit.

The story I have described for Men in Black International sounds like a story that should work. The arcs are clear with M pursuing her dream and overcoming her inexperience and H seeking redemption while not being sure of what needs redeeming. It’s not a special story but if you build in good gags and solid action and effects, this is a good enough structure to support them. Sadly, director F Gary Gray brings absolutely nothing new or fresh or funny to his take on MIB.

Men in Black International differs from the original, 1997 Men in Black by not being particularly funny. Neither Thompson or Hemsworth appears interested in being funny, each appears to be waiting for the movie around them to be funny and it never happens. Kumail Nanjiani, playing an alien, nicknamed Pawny, is the closest thing to a character that is genuinely funny but the laughs remain few and far between.

The only innovation that the makers of Men In Black International bring to bear on the MIB franchise is moving the action from New York City to London and several other international locations. Beyond that, the aesthetic of Men in Black has not changed much in 22 years. The ending of the first Men in Black had more innovation than this modern sequel and all that did was update the suits to high fashion and put Will Smith in a more modern car.

If anything, Men in Black International is a step backward for the franchise. That’s odd since the MIB3 literally traveled into the past and felt more modern than International. Men in Black International looks like Men in Black in every way which is fine for a sequel but the movie doesn’t innovate on the franchise in any way. Without bringing something fresh to the franchise and without being funny, Men in Black International struggles to justify its very existence.

Men in Black International is a bizarre failure. We know that Tessa Thompson and Chris Hemsworth are funny, we saw that in Thor Ragnarok. And yet, there is no evidence of their humor in Men in Black International. Thompson is remote and occasionally withdrawn, delivering a perfunctory approximation of the uninspired script. Hemsworth meanwhile, rehashes pretty boy cliches that weren’t all that funny in Ghostbusters or the Vacation reboot and certainly don’t feel fresh here.

Men in Black International is professionally made. The film looks as if it should be entertaining. There is nothing wrong from a cinematography or design perspective and yet the movie is lifeless. The cast is going through the motions of a story that isn’t anything special and without any big laughs, Men in Black International just lingers on screen going through the motions of a very average action movie.

A good example of the failure and lack of inspiration in Men in Black International are the film's villains. Les Twins, Laurent and Larry Bourgeois play characters literally referred to as Alien Twin 1 and 2. The pair is known for their innovative dance videos on YouTube and yet we get barely a sample of what makes the twins special. A scene in a nightclub is intended to give them a showcase but the scene is clumsily shot and the dancing is blink and you will miss it. 

The twist is that a rogue MIB agent is the true big bad which explains why the Twins have no real characters to play but then why include them at all? The inclusion of Les Twins in Men in Black International is further evidence of the mercenary, marketing driven motivation behind this lifeless, soulless rehash of a well known property. The makers of Men in Black International hired Les Twins for their high social media profile and not to actually use them to serve a story being told. 

Why was this movie made? If the makers of Men in Black International had nothing new to say with this inventive premise then why did they make this movie? It appears to have been a purely mercenary effort on all sides. Everyone in the cast and crew appears to have been on hand solely to pick up a paycheck and deliver the absolute minimum effort with the only goal being to capitalize on a well known intellectual property.

Movie Review: 'Creed 2'

Creed 2 (2018) 

Directed by Stephen Caple Jr 

Written by Juel Taylor, Sylvester Stallone 

Starring Michael B Jordan, Sylvester Stallone, Tessa Thompson, Wood Harris, Dolph Lundgren 

Release Date November 21st, 2018 

Published November 20th 2018

Sylvester Stallone is perhaps the most frustrating actor on the planet. Much like Adam Sandler, we know how talented Stallone is, but we can never understand why they so often do not use that talent. Movies like Creed and Creed 2 are my thesis statements for how Stallone is and has been a remarkable talent throughout his career. It could just be that the character of Rocky Balboa gives Stallone a kick in the pants but I believe he’s just a great performer who chose to chase paychecks at the expense of his talent. 

Creed 2 is not Rocky’s story but damned if Stallone doesn’t once again steal the show from his young counterpart Michael B. Jordan, a talented young actor in his own right. Rocky is how the first Creed came to be and Rocky remains the driving force of the franchise even as he’s only a supporting player. Stallone invests deeply in Rocky and his performance lifts the film well past any sports movie cliches and into a realm of excellence. 

Creed 2 begins with our hero Adonis Creed at his most successful. Adonis is in the ring fighting for the World Heavyweight Championship with Rocky in his corner. Creed is focused and determined and while he’s not dominating his opponent, he’s outclassing him with his technique and just like that, Adonis Creed is the champ. Most sports movies build to this point but Creed has other lessons to impart and thus the title fight is only the beginning. 

Somewhere in the Ukraine, in bombed out gyms on the edge of bombed out towns we see a familiar old face. Ivan Drago (Dolph Lundgren) is at ringside with his monster of a son Viktor Drago (Florian Monteanu) in the ring hurting people. In the crowd is a promoter named Buddy Marcelle (Russell Hornsby) who has gone all the way to the Ukraine because he could smell money. The idea of Creed versus Drago is one few shyster promoters could pass up. 

For the uninitiated, Ivan Drago is the fighter who killed Apollo Creed in the boxing ring in 1986, as depicted in Rocky 4. Sensing a media sensation, Marcelle returns to Philadelphia with the Drago’s in tow intending to get a big payday by antagonizing Adonis Creed into a fight. The ruse works despite Rocky refusing to be in Adonis’ corner for the bout and the title will be defended. What happens next you should see for yourself when you see Creed. 

There are elements here that don’t quite work so let’s get those out of the way quickly. The character of Buddy Marcelle is a giant waste of time. I like actor Russell Hornsby but the way he’s filmed in the movie places a weight and importance on him that isn’t part of the movie. Director Steven Caple Jr makes Marcelle appear important with portentous cuts to him watching Creed’s title fight and him watching Drago in the Ukraine. 

Marcelle has one scene with Adonis Creed in which he taunts Creed with why he thinks Adonis has to take the fight and then he’s pretty much done for the movie. He’s entirely worthless. At a certain point in the movie, Ivan Drago becomes the guy pushing for the fight to happen and Marcelle is a shadow of a character. Why was such importance placed on him? He was kind of a plot bridge but the movie could happen entirely without him. 

Thankfully, that’s my main gripe with Creed 2. One unnecessary and poorly crafted character doesn’t ruin the movie. It just stuck in my brain a little and bugged me. The rest of Creed 2 is far better constructed. The film settles on questions of fathers and sons, of pride and vanity. Michael B. Jordan’s Adonis is playing out the insecurities of his character via boxing and ego. It’s a wonderfully well motivated performance of complex and involving emotions. 

Michael B. Jordan is as strong as you expect him to be, considering what a great run he’s on having soared into super-stardom in Black Panther earlier this year. What I found unexpected was the performance of Sylvester Stallone who is better than ever as Rocky. This war horse character has aged brilliantly and Creed 2 gives us a sense of the entire scope of Rocky’s life in just a few short scenes. 

Adonis fights Drago twice in Creed 2 and Rocky makes both fights even more compelling with how he is portrayed. Rocky watching the first fight is heart rending and him getting Creed ready for the second fight is exciting and powerful to the point where the outcome of the fight doesn’t matter. By then the lessons have been learned and the fight is a glorious exclamation point on, arguably, the best training sequence in any boxing movie ever. 

No joke, I thought the young man sitting next to me was going to go jump into a fight immediately after the movie just from being so pumped up by this killer sequence. This series of scenes set to a powerful hip hop and orchestral score is completely awesome. I kind of wanted to fight after this sequence. The sweat and the pain of this sequence are awesomely visceral and compelling to the point that the fight is almost a nice way to settle down for the final act of the movie. 

Creed 2 is not quite as artful as the original but, to be fair, that film had a genuine auteur in Ryan Coogler behind the camera. Steven Caple Jr has a ways to go but he’s off to a really great start here. Creed is a wildly entertaining movie, good enough to escape the stink of the sports movie genre, if not strong enough to be a truly great movie. The film has minor flaws but the big takeaways are Stallone is incredible when he wants to be and the Creed movies may have legs for another outing. 

I wish Sylvester Stallone had spent more time in his career actually acting. As Creed and Creed 2 show when he wants to, he can turn on the craft. It’s not just the nostalgia for the character of Rocky at play, though that is some of it. The reality is that Stallone can turn the acting on and off when he wants to, when he’s motivated to be great, he can be transcendentally good and that’s what we see in Creed and in this sequel.