CHECK IN FOR A GOOD TIME AT THE EL ROYALE

MOVIE
Bad Times at the El Royale
Jeff Bridges, Cynthia Erivo, Dakota Johnson, Jon Hamm, Chris Hemsworth
Director: Drew Goddard
Review Ray Chan

If you don’t know Drew Goddard, you’ll surely know of his works such as TV’s Buffy the Vampire Slayer and Lost, and the eerie The Cabin in the Woods, which looked at events from a deconstructionist perspective, an approach he takes to another level in his second movie, the noir Bad Times at the El Royale.
    It gathers a group of strangers in the lavish motel which straddles the California/Nevada border, once home to the stars but now, in the late 60s, fallen on hard times.
    The front desk is unoccupied when guests start turning up: Laramie Seymour Sullivan (Jon Hamm), a travelling salesman; Darlene Sweet (Cynthia Erivo), a young black aspiring singer; Father Daniel Flynn (Jeff Bridges), an avuncular yet addled Indiana priest; and a wordly-wise mystery woman in sunglasses (Dakota Johnson). A young clerk, Miles (Lewis Pullman), eventually emerges from the maintenance closet and rooms are duly assigned.
    Once that setting is established, the viewer is enticed by the promise of good times at the Bad Times, as each person, much like in most accomplished mystery offerings, has something to hide. The rooms are all surreptitiously monitored via one-way mirrors, which provides Goddard the means of presenting the backstory of each occupant.
    The movie is broken into chapters, each named for a room number (or maintenance closet), and often ending with a surprise reveal about the guests.  The plot keeps on thickening, with new details and possibilities arriving at a frantic pace.
    The way everyone’s stories mingle and merge while redolent songs play in the background evokes memories of Tarantino offerings that twist and turn and tell tales from different perspectives which have to be pastiched together to make sense. But this film is one that’s more interested in telling an entertaining story than in being mysteriously aloof. Goddard gives much screen time to each character, thereby keeping the audience in suspense as to who the main protagonist is.
    The story takes a turn when Chris Hemsworth, playing a cult leader, arrives on the scene. He plays a solid enough role, but his accent, drifting between Australian, English and forced American, can prove to be irritating, particularly as his enunciation has often left much to be desired.
    Bridges, Jones and Pullman are the outstanding actors here, pulling off their roles with passion, panache and pulchitrude. But despite their performances, and the potential shown in the first half hour, there’s a slightly disappointing end to the movie, likely because there is no central theme to link the disparate threads, while others may feel the conclusion is unsatisfactory as it appears to let the bad guys win.
    Ultimately, while the audience may be kept on the edge of their seats expecting the twisted journey to reach a memorable destination, they may feel that as it turns out, the trip to the El Royale itself was the main focus all along.

#BadTimesAtTheElRoyale

HOMAGE, HORROR AND HUMOUR

MOVIE
Predator: Hunting Season
Boyd Holbrook, Trevante Rhodes, Jacob Tremblay
Director: Shane Black
Review Ray Chan

Shane Black was a cast member in the original Predator movie, where he played a US mercenary who, like many others, met a grisly demise at the hands of the alien.
    Since then, he's made a name for himself as a writer (Lethal Weapon) and lately a director (Kiss Kiss Bang Bang), so it's particularly poignant that he oversees the latest instalment in the franchise.
    It opens with a sequence all too common these days, as a space vessel crashes in a secluded forest on Earth … and, conveniently enough as is always the case, somewhere in the USA. On board is the hulking humanoid with the cavernous piranha mouth, dreadlocks that belong to a Caribbean warlord, and a tinge of anguished puzzlement in its jaundiced eyes.
    In the original film, this extra-terrestrial monster was a lurking threat, unveiled only at the climax. This time, multiple predators are visible in all their glory from the outset, as the story reveals that one of them is in fact the prey among his kind.
    Indeed, there's an almost philosophical discussion about why the name “Predator” isn't appropriate, as the invaders only attack people who are armed and don’t rely on humans as a source of food.
    Evolutionary biologist Casey Bracket (Olivia Munn) proclaims they're more like sports trophy hunters, but of course calling them "predators" is "cooler." All the men in the Predator war room agree. The only ones who don't are the woman and suicidal Afro-American soldier Williams (Trevante Rhodes): symbolically, the characters most likely to be preyed upon (woman, black, mentally-ill, veterans) by their own culture.
    Overall, the characters are an eclectic bunch. Boyd Holbrook as Quinn McKenna heads a group of military misfits who find themselves in the firing line of not just the Predators but also a clandestine government agency intent on safeguarding their alien research work.
    Jacob Tremblay plays Quinn's son Rory, a young boy with autism who comes into contact with the alien technology. Quinn's wife is played by Australian Yvonne Strahovski, who gets a few good one-liners as a mother who finds her house overrun by the military folk as they hide from the approaching creatures.
    Interestingly, all the gore and carnage one can expect of Predator offerings is tempered by many laughs and witty exchanges along the way. Like all Black’s work, The Predator refuses to take itself seriously even for a moment.
    Yet in the midst of all the chaos, it does keep circling back to one specific theme: each main character feels connected to the Predator in some way, leading us to ponder the possibility of a fusion between human and monster.
    Some gaping plotlines aside, this movie is harmless entertainment which doesn't offer much in terms of thrills and originality.
    But as a showcase for its titular character, as well as a Deadpool-esque fun slice of action horror, Black certainly hits those proverbial nails on their heads, and his various homages to the first two Predator movies will make diehard fans go home happy.


#ThePredator

THE HISTORY BOOK REPEATS ITSELF

MOVIE
Mamma Mia! Here We Go Again
Amanda Seyfried, Meryl Streep, Cher, Pierce Brosnan, Colin Firth, Stellen Skarsgard.
Review Ray Chan

The film that first brought ABBA's songs to cinematic life, Mamma Mia! The Movie, was probably the most joyous offering of 2008.
    It made a whopping $610 million at the box office and remains one of the UK's biggest hits on stage or screen.
    Now, 10 years later, fans get the chance to see whether the magic can be repeated.
    Written and directed by Ol Parker, Mamma Mia! Here We Go Again is as much a prequel as it is a sequel to its predecessor.
    Much like the first movie, it's apparent that the story has been contrived to fit around the vast array of songs in the ABBA catalogue. Sometimes they match, and at other times, the shoehorning seems a bit far-fetched.
    The narrative flits constantly from the days when the free-spirited, younger Donna (Lily James) first moved to the Greek island where she built her dream hotel, to the present where her daughter Sophie (Amanda Seyfried) has taken over the mantle from her now-deceased mother.
    She's refurbished the buildings, and to mark the grand opening, has invited Donna's besties Tanya and Rosie (Christine Baranski, Julie Walters) and her dads Sam, Bill, and Harry (Pierce Brosnan, Stellan Skarsgard, Colin Firth). The wannabe resort is now run by a mysterious, suave Latin gentleman (Andy Garcia), whose presence takes on a greater relevance later in the movie.
    Parker periodically interrupts the hectic lead-up to the big day with flashbacks to the time Donna arrived on the island, and how she met Sophie’s paternal triumvirate (all played by younger actors, of course).
    The screenplay, which Richard Curtis helped him develop, is a great mix of irascible jibes and waggish witticisms, balanced by musings on loneliness and loss, reflected in the lyrics of many of the songs.
    Some of the funniest lines go to British stand-up comedian Omid Djalili, playing a customs officer who makes insensitive comments about the visitors whose passports he has to stamp. He also pops up at the end of the credits, so make sure you hang around to catch it.
    It's interesting to note that of all the cast chosen to portray the younger generation, James bears the least resemblance to her respective older character; however, she has by far the best singing voice.
    Sigfried and husband Sky (Dominic Cooper) definitely appear slightly more worse off for wear than when they appeared in the first movie, but then that only adds to the realism of the chronicle, set five years later. Ironically, the older set (Brosnan, Firth, and especially Baranski) look to have hardly aged.
    The movie really starts to match the camp and rollicking fun of the 2008 film when Cher turns up (playing Sophie's grandmum), turning everything into a glammed and glittered karaoke party.
    Indeed, the way the song Fernando is slotted in to the storyline is both ingenious and amusing, and Cher does an impressive, straightforward version of the classic.
    And on that note, there's not much more one can say about the songs. Songwriters Ulvaeus and Andersson are a modern-day Rodgers and Hammerstein, having crafted many masterpieces that spanned the gamut from simple dance-along pop to compositions of sublime melodic and lyrical beauty.
    Like in the first film, the pair show up in unexpected places in the story, though I would have screamed in delight had Agnetha and Frida also been granted cameos.
    A couple of songs from the original movie are reprised here, including another flash mob sequence to Dancing Queen, but it's nice to see the inclusion of other pieces that didn't make it the first time round, such as Why Did It Have To Be Me; Angel Eyes; Andante, Andante; Knowing Me, Knowing You; and the glorious My Love, My Life, which wraps around the movie's most touching sequence involving Sophie and the older Donna (Meryl Streep).
    Other ABBA songs are cleverly snuck in despite not featuring majorly, such as a Greek band singing Kisses Of Fire and Hole In Your Soul, Hasta Manana blaring out in a bar, and the refrain from Chiquitita used as a musical background.
    Mamma Mia! Here We Go Again doesn’t pretend to be anything more than what it is: it doesn't aim to be an Oscar winner, and is happy to follow the silly, sweet, sun-splashed formula of the first instalment.
    The choreography is glorious, from the crowd scenes down to clever homages to the ABBA “face” videos, and the feel-good factor is amped to max. Go with a mind to be entertained and you will not be disappointed.
    Has the franchise met its Waterloo? Perhaps not. There are still many songs left in the repertoire to base a third part around, and success is guaranteed if the happy, singalong blueprint is adhered to. Surely Ring, Ring must be a contender.

@mammamiamovie

SIGHT FOR 'SAUR EYES

Movie
Jurassic World: Fallen Kingdom
Chris Pratt, Bryce Dallas Howard
Review Ray Chan

How much longer can the Jurassic franchise continue without becoming stale?
    When the dinos of Jurassic Park first roared on the screens in 1993, the novelty was fresh, and moviegoers flocked to view mechanical monsters as much as they were hoping for an entertaining story.
    But now, four sequels later, cynics can be forgiven for feeling that an invigorating shot in the arm is needed to rejuvenate the premise of reptiles gone wild due to human intervention.
    Fallen Kingdom, thankfully, offers that infusion of adrenaline. Returning writers Derek Connolly and Colin Trevorrow come up with a clever script that takes the majority of the action out of its usual element, adding a refreshing change of tack and scenery.
    Director J. A. Bayona, lately of A Monster Calls, manages to deliver effective scenes that are genuinely filled with terror and suspense, so vital in an era where viewers are jaded and bored with even the most sophisticated CGI effects.
    The story takes place three years after the events of Jurassic World, with a dormant volcano on the abandoned island of Isla Nublar, home of the jurassic sanctuary, threatening to bury the revived dinosaurs. 
    This catastrophic natural disaster compels former velociraptor trainer Owen (Chris Pratt) and Jurassic World manager Claire (Bryce Dallas Howard) to team up once more as they try to save the creatures. At least this time Claire doesn't run around in high heels.
    But instead of any hint of romance being rekindled, there’s little emotional investment in the pair, as they spend more time thwarting attempts by profiteers to auction off the island’s occupants as weapons of mass destruction, along with the potential of cloning them.
    Indeed, the film shines brightest when the spotlight falls on the real stars, the computer-generated godzillas, who roar and rampage longer and stronger than their predecessors.
    Bayona, Trevorrow and Connolly also showcase the dinosaurs in a different light, generating a sense of sympathy for the creatures as they struggle to exist in the present world. 
    Ultimately, the movie is a fun romp, but it does pose serious questions, challenging viewers to consider whether it’s worth saving species once extinct, reproducing them and returning them to modern times.
    The poignant moments where innocent dinosaurs are killed by the volcano’s lava further raises the point of this dilemma. 
    This angle is scantly touched on, although the conclusion of Fallen Kingdom indicates it could well be the focal point of the next chapter, already projected to be the final instalment in the series. 

@JurassicWorld

SOLO EFFORT MORE OF THE SAME

MOVIE 
Solo
Alden Ehrenreich, Woody Harrelson
REVIEW RAY CHAN

There’s only so much a good director can do with a mediocre script, even if it's written by Star Wars veteran Lawrence Kasdan and his son Jon.
    Perhaps the subject matter was too difficult. It seems like we already knew too much about Han Solo - played in the first instance, of course, by Harrison Ford – so his origin story would indeed truly have had to be original to make an impact.
    Ron Howard, brought in to replace original directors Chris Miller and Phil Lord at the last minute, does his best to infuse some vitality to the screen, but the final product, while competent enough, is far from perfect.
    Many scenes, involving various heists as the young Han (Alden Ehrenreich) teams up with a colourful band of thieves led by Woody Harrelson’s Tobias Beckett and his wife Val, are obviously intended to bedazzle, but somehow fall flat and really can’t compare to the wonderful opening sequences of say, Ford’s Indiana Jones movies, ironically enough.
    Ehrenreich does make a solid fist of it all, without ever quite matching Ford’s nonchalance and blaseness. There’s very little personality showing, except for a crush on Emilia Clarke’s mysterious Qi’ra, which, as Star Wars fans full know, would ultimately amount to nothing.
    On the other hand, Donald Glover’s charismatic Lando is a delight, as is Phoebe Waller-Bridge as the wisecracking droid, L3-37.
    The part Lando plays in helping Han secure the Millennium Falcon is revealed, while of course we are filled in on Chewbacca's backstory and how the gentle giant becomes Han's loyal ally.
    Overall, Solo is not quite a disaster and is enjoyable on certain levels. But the plot lacks a punchline to carry it, and the impotent climax doesn't help.
    In the end though, it’s more of the same, when it comes to Star Wars movies: barren landscapes, cantina scenes, various alien life forms, varied droids, battles in space.
    The film is more suited to the small screen than the silver. Let’s hope the next movie in the franchise breaks out of the carbonite that Solo appears to be trapped in.

#hansolomovie

NOT DEAD IN THE WATER ... YET

MOVIE 

Deadpool 2
Ryan Reynolds, Josh Brolin, Julian Dennison
REVIEW RAY CHAN

The first Deadpool movie poked fun at superhero films two years ago with an impertinent, profane and mirthful send-up of the genre.
    And if you liked that, chances are you'll enjoy the sequel, which continues down the same formulaic track, right from the unconventional opening sequences through to the post-movie scenes (there are two in mid-credits), with Ryan Reynolds – who co-wrote the story – breaking down the fourth wall every chance he gets.
    Deadpool 2 takes place after our hero – or even anti-hero - Wade Wilson, tragically loses his wife Vanessa just as the couple were contemplating starting a family, cueing up the odd Celine Dion interlude which had social media channels in a tizz.
    Wade finds himself protecting a mutant named Firefist (NZ's Julian Dennison, who seems to be stuck in the form of a pre-pubescent teen) from the time-travelling super-soldier Cable (Josh Brolin), who's ripped, humourless and a perfect foil for the effervescent protagonist.
    The most hilarious segments of the movie occur when Wade builds his own army to defeat Cable. Called the X-Force, the team had an illustrious career in the comics, but here comprises bargain-basement mutants such as Shatterstar, Zeitgeist, Bedlam and a chap called Peter, who's completely powerless but responded to the advertisement anyway. Another member is Vanisher, who in the funny books was a villain with ability to teleport; but in the movie, he's merely an invisible man. The character is played by a Hollywood mega-star, whose face can be seen for a few seconds if you watch closely enough.
    The only member of X-Force to show any mettle is Domino (Zazie Beetz), whose power is good luck, and who, armpit hair and all, eventually proves to be a useful ally to Wade, as do the returning duo of Colossus and Negasonic Teenage Warhead, along with her fellow X-Man and Japanese girlfriend Yukio.
    Reynolds uses every opportunity to plug his homeland Canada, and once again apologises for his role in the unfortunate 2011 Green Lantern adaptation; he did the same in the first movie. At one point Wade tells Cable to “Zip it, Thanos”, referencing Brolin’s role in Avengers: Infinity War. Brolin is surely the first actor to play two different characters in consequent Marvel Universe movies.
    There's no doubt that the unpredictable, helter-skelter origin story was deservingly lauded for its bold and creative approach. Ultimately though, one also needs to question whether the novelty will wear off.
    Deadpool 2 hasn't entirely lost the sense of freshness: while all the devices that elevated the original movie are here - the rapid-fire sarcasm; the over-the-top action; the ironic use of pop music  (two songs are by Australian bands) - there are still enough in-jokes and spectacularly choreographed battle scenes to keep the viewer entertained. 
    But the studio must realise that the brand runs the risk of turning stale by sticking to the same mix of violence, crass jokes and vulgar putdowns.
    Moviegoers know what to expect now from the Merc with the Mouth, and as much as they may enjoy this sequel and loved the the first movie, the shock value has lessened, and so may the enjoyment factor of future instalments in the franchise.

#deadpool2 

INFINITY AND BEYOND

MOVIE

Avengers: Infinity War
Robert Downey Jr, Chrisses Hemsworth, Pratt and Evans, Josh Brolia
Review Ray Chan

Avengers: Infinity War is the culmination of a grand plan that began with the 2008 release of Iron Man, its aim to interconnect various Marvel movies into one epic space opera, each individual film forming parts of the mosaic.

    But with so many heroes and supporting cast assembled for the saga, and the multitude of settings and developments that have been established for each over the years, it's a movie that will prove challenging for the non-hardcore fan ... and ultimately surely incomprehensible for anyone watching a Marvel offering for the first time.

    Spare a thought for directors Anthony and Joe Russo, charged with mixing the light-hearted shenanigans of the Guardians of the Galaxy films and Thor: Ragnarok with the darker tones of the Captain America sequels, while also incorporating the high-tech worlds of Iron Man, Black Panther and the Hulk with the mysticism of Dr Strange. They direct with surety, but can be forgiven for forsaking emotions over action. 

    The nub of the crisis revolves round the majestic yet merciless villain Thanos, who wields the Infinity Gauntlet, a powerful artifact that will enable him to change the universe to his will … but only if he has all six stones embedded in the gadget.  

    We've seen some of the gems featured in various movies. Asgardian Heimdall has the space stone; the mind stone is embedded in the Vision's forehead; the powerful reality stone is in the hands of the celestial Collector; while Dr Strange holds the time stone in his amulet. 

    The movie follows Thanos as he meanders through the cosmos, battling friend and foe alike, gathering the stones with ease and aloofness. The prized jewel, the soul stone, is acquired by sacrificing his own daughter, the green-hued Gamora of the Guardians.

    There's a nice cameo from Peter Dinklage, often the go-to when a movie calls for an actor of shorter stature. But here, he actually plays the giant Eitri, the master craftsman who made both the gauntlet and Thor's hammer Mjolnir (destroyed by Hela), and who forges a new weapon for the Asgardian god.

    For the first  two hours and 20 minutes, it's essentially Thanos versus the Avengers, Guardians and super-powered allies as the champions try and defeat the warlord. There's little room for exposition or characterisation, save for the odd quips among the carnage, and the audience is left to go through the motions of watching battle scene after battle scene.

    However, the big payoff comes in the final 20 minutes, which shakes everything up. Without wishing to spoil the ending, suffice it to say that it will leave moviegoers with mixed feelings.

    Casual viewers will be dumbstruck, while diehards will inevitably leave the theatre with a sense of cynicism.

    Infinity War is definitely worth watching for its ambitious scale in selling the cosmic adventure, or simply to witness the end result of 10 years' worth of Marvel movie narratives. 

    But poignantly, it may also be remembered as the watershed moment for the Marvel Cinematic Universe, with the old paving way for the heroes of the future. 

    Over the years, the goalposts have moved considerably. Disney's acquisition of Marvel Studios mean the stable has become even more prodigious, with the movie house now having the rights to characters such as The Fantastic Four, X-Men and Deadpool.

    This, combined with the impending end of contracts of some of the major stars of the various franchises, may well indicate that the movie's cliffhanger is a means of  rebuilding the Marvel universe afresh.

@InfinityWarM 

FEEL-GOOD MOVIE WITHOUT THE FEELS

MOVIE
I Feel Pretty
Amy Schumer, Michelle Williams
Review Ray Chan

Amy Schumer's on a quest. Her TV series and movies to date have all dwelled on rejecting the ways in which women are expected to adhere to certain beauty barometers and behavioral standards in consumer society.

    And in I Feel Pretty, the theme keeps rolling on: the tale of an average-looking woman who struggles with feelings of deep insecurity and low self-esteem, until the day she thinks she has become a super model.   

    With this fresh confidence, she is empowered to live her life fearlessly and flawlessly, but what happens when she realises her appearance never changed? 

    Schumer again embraces the part of a lovable loser, a woman who tries hard to fit in but who invariably falls out: a role she's played time and again. 

    As homely Renee Bennett, she works for prestigious beauty company Lily LeClair. She can't help but notice that the head office is filled with long-legged ornaments  who look more at home on a catwalk even when strolling down the office hall. 

    When Renee suffers a knockout blow at the local gym, the concussion makes her believe she is a gorgeous beauty queen.

    Invigorated by this new-found confidence, she goes about her life believing she can achieve anything she wants, including landing a dream job and a boyfriend, unaware that it's all due to her own personality and not her superficial facade.

    And so on it goes, until Renee encounters another accident which makes her realise that her  features never really changed at all. 

    But that only inspires her to deliver a message to Lily LeClair's customers that their products are not merely for the dreamboats and stunners of the world, but also for the everyday women and “regular girls”.

    Cue message that it's what within that counts, and not without. And for this reviewer, it certainly felt as if the exposition was talking down to the audience, never a good move.

    The premise of I Feel Pretty is promising, but the message behind it is clear-cut from the start and viewers will wish it could have been conveyed with a more energetic script that delivered more laughs. Schumer is after all a comedian, but the movie hardly serves as an adequate vehicle for her talents.

    Female comedians have been self-deprecating about their attractiveness for decades, yet this movie takes that message to unnecessary extremes. 

   And as a thought to ponder: is it really politically correct to make plus-size jokes even if it the movie ends with a pandering, moralising message about body positivity? 

    I Feel Pretty is a feel-good movie about feeling good, but ironically, it lacks the feels where it matters.

YOU'LL LOVE SIMON

MOVIE

Love, Simon
Nick Robinson, Katherine Langford
Director Greg Berlanti

Review Ray Chan

Simon (Nick Robertson), a closeted high-school senior, has engaged in regular texting sessions with an anonymous class friend, who is also gay. Simon’s parents and little sister are unaware of his orientation, and he’s kept it from lifelong pal Leah (Perth's own Katherine Langford, who produces a respectable US accent).

    But Simon’s geeky classmate (Logan Miller) discovers the secret messaging, and threatens to out Simon unless he helps him date a mutual friend, Abby (Alexandra Shipp, who just about steals the show). 

    Greg Berlanti, a veteran of youth-oriented TV shows like Dawson’s Creek but these days better known for his range of super-hero offerings, directs with aplomb as he uncorks the revelations and setbacks that Simon goes through as he struggles with the burden of living a lie, unable to confide in even his closest friends. 

    Indeed, he sweetly handles the moment Simon finally blurts out that he's gay — to someone we don’t expect — while the audience is kept wondering  about the mystery texter, whose identity is revealed towards the end of the film.

    Interestingly, early in the movie, our protagonist jokes about getting together with friends and watching bad ’90s teen movies … yet all the while,  Love, Simon essentially is a ’90s teen movie, albeit with a few modern tweaks. 

    Having a gay lead is a twist from that formula, while the other is mobile phone culture, around which  the movie revolves. And in another modification, the typical scene where a guy professes his love for a girl in front of the entire school is given not to the hero, but to the villain. 

    Robertson  plays it mostly straight, as it were. This may be partly because Simon wants to keep his secret, but the storyline also suggests that different hues exist along the rainbow, with a more florid tint provided by flamboyant classmate Ethan (Clark Moore). 

    In one daydream, Simon ponders whether he’ll somehow turn out even gayer, cueing a fantasy sequence of fraternity brothers dancing to Whitney Houston  … with  Simon waking up and muttering, “Maybe not that gay”. 

    Screenwriters Elizabeth Berger and Isaac Aptaker should also be praised for emphasising respect for diversity throughout, whether it's from friends and family, or teachers at Simon's school.

    Love, Simon is a gentle comedy that deals with sensitive issues with respect and humour. While it's bereft of strong action-themed flavours, it's more than just plain vanilla: it's a film that will inspire empathy for gay teens, and help to embolden them in opening up to cohorts and community.

#lovesimonmovie

RUN THROUGH THE JUNGLE

This review was published in The West Australian dated Dec 26, 2017.

MOVIE
Jumanji
Dwayne Johnson, Jack Black
Review Ray Chan

The original Jumanji, which starred Robin Williams as a man trapped inside a jungle-themed board game, was mildly successful when it was released in 1995. Back then, it wasn't such a smash hit that it guaranteed a sequel, but now, more than 20 years later, it seems the concept has been deemed too good not to revisit.
    Strictly speaking, Jumanji: Welcome To The Jungle is not a follow-up adventure, but a sort of remake, substituting a 1990s-era video game for the board version.
    Geeky teenager Spencer Gilpin (Alex Woolf) is dispatched to detention by his high school principal for ghosting assignments for classmate and football star Anthony 'Fridge' Johnson (Ser'Darius Blain), who also gets benched.
    Joining them are Martha Kaply (Morgan Turner), an introvert who hates gym, and Bethany Walker (Madison Iseman), the prettiest girl in school who's obsessed with social media.
    The fun begins when Spencer finds and plugs in an old computer console containing a game called Jumanji, and the kids decide to play it.
    However, soon after they all pick their characters, they're sucked into a terrifying real jungle populated by dangerous animals and a maniacal villain.
    Spencer's avatar is Dr Smolder Bravestone (Dwayne Johnson), a heroic, muscular, square-jawed archaeologist; the Fridge is Mouse Finbar (Kevin Hart), a smaller-framed zoologist; Martha is Ruby Roundhouse (Karen Gillan), a sexy commando; and Bethany is Professor Sheldon Oberon (Jack Black), a tubby middle-aged man.
    Ultimately, the story is a nice twist on the original Jumanji plot, where the game comes to the real world. In this movie, the protagonists take the opposite route.
    And it is within the game setting that the virtual reality idiosyncracies show up. After some of the players get killed and are resurrected almost immediately, they discover they each have three lives. They also need to find a legendary gem called the Jaguar's Eye, if they want to get out of the game at all.
    They meet up with a character named Alex, who has a nice tie-in with Williams' character from the original movie.
    While the premise is ludicrous, the chemistry between the characters, the wit and humour and the non-stop action scenes more than make up for it.
    Johnson shows he is equally at home with gags as he is with his usual action roles, while Gillan demonstrates impressive athleticism.
    Black always excels at comedy, and his role is no exception, but then he gets most of the best lines. The act of relieving herself as a man is a source of wonder for the former vain blonde princess, who can't believe she isn't Instagramming the procedure. She then concedes her senses have heightened without the use of any gadgetry.
    With rampaging rhinos, slithering snakes and gaping-jawed jaguars, it all makes for an amiable, jocular treasure hunt that is much better than might be expected.

#jumanji #jackblack 

ASGARDIAN ABSURDITY

MOVIE
Thor: Ragnarok
Chris Hemsworth, Tom Hiddleston, Cate Blanchett
Director Taika Waititi
Review Ray Chan

The third instalment of the Thor franchise shows clearly that THIS is how it should have been handled from the start: as an action comedy.
    When you think of it, the premise of a drop-dead gorgeous surfer-blond extraterrestrial, who also happens to be a Norse god with a magic hammer, is just too outrageous to be anything but.
    The first film had the mildly Shakespearian vibe that one might have expected from its director, Kenneth Branagh, while the second proved that the lead hero (Hemsworth) was less compelling than his nemesis and mischievous brother Loki (Hiddleston).
   But it wasn’t until 2014’s Guardians of the Galaxy that Marvel came upon a true model for Thor to move forward.
    Guardians offered up a sentient house plant and a talking raccoon, and leaned hard into the absurdity of both. As a result, we now have Thor: Ragnarok, which offers all the gritty elements of an action fest, but is equally inspired as a comic drama.
    The cliffhanger from Thor: Dark World is handled swiftly and summarily right from the start, as if to indicate that the directors wanted to move on in the new direction quick-smart.
    You may recall that Loki had assumed the identity of his father, Odin (Anthony Hopkins), and with it, the throne of Asgard.
    But this situation is abandoned within minutes, and amusingly so, in scenes involving a couple of unexpected guest stars.
    The plot changes tack in a headspin, as Asgard is conquered by Hela (Blanchett), Odin’s firstborn and the Goddess of Death, long exiled and until now forgotten.
    Thor and Loki, meanwhile, end up teaming up with the Hulk (Mark Ruffalo), in a sub-plot involving a planet obsessed with gladiatorial contests, overseen by a character named the Grandmaster, hammed up hilariously by Jeff Goldblum.
    Along the way, Tessa Thompson shows up as a disillusioned Valkyrie, and Karl Urban appears as a half-hearted Hela stooge. But the character which steals the show is the film’s director, Taika Waititi, late of What We Do In The Shadows, who maintains his softly-spoken Kiwi accent while playing a tough-looking pile of walking rocks named Korg.
    Kudos also to whoever chose to use Led Zeppelin’s stirring “Immigrant Song,” which was originally written as on ode to the viking gods, in the climactic battle scene.
    Put it all together, and you have just over two hours of entertaining and abjectly silly super-heroism, which proves you don’t need to be grim and gritty to succeed as a film in this genre.

#thorragnarok