ReMastered: Who Shot the Sheriff? (2018)

Director: Kief Davidson

Cast: Bob Marley

57 mins. Not Rated.

 

ReMastered is a monthly music-themed docuseries on Netflix. The first of these documentaries, directed by Kief Davidson (The Ivory Game, Bending the Arc), examines the mysterious shooting of Bob Marley and the possible CIA connection.

For me, Who Shot the Sheriff? doesn’t really scratch the surface of this mystery. They make some interesting claims, but I didn’t feel like they got anywhere deeper than surface-level assumptions based around conspiracy theory without any real discoveries. That’s the real failure of the documentary. I was very interested in the portions of Bob Marley’s life from a purely biographical aspect, but the mystery of the shooting is essentially a non-story based on the doc.

The doc should have focused more on the power of Marley’s music and the effect he had on so many. It spends some time on this portion in the doc but not enough. The power and effect of his music and presence is where the documentary is at its absolute best.

Who Shot the Sheriff? is a so-so documentary. I don’t think the film really knows what it wants to do. It plays itself as a mystery, but it never really delves any deeper into it. This one isn’t worth it for anyone outside of Marley super-fans.

 

2/5

-Kyle A. Goethe

[Early Review] Greta (2018)

Director: Neil Jordan

Cast: Isabelle Huppert, Chloe Grace Moretz, Maika Monroe, Colm Feore, Stephen Rea

Screenplay: Ray Wright, Neil Jordan

98 mins. Rated R for some violence and disturbing images.

 

I was told by a pretty reputable colleague who had caught Greta at TIFF last year that I needed to see it when it hit theaters, and earlier this week, I was given that opportunity. I didn’t realize that the film was directed by Neil Jordan (The Crying Game, Byzantium) until the credits started to roll, which raised my expectations considerably, but I did not expect the seasoned director to turn in something quite like Greta.

When Frances McCullen (Chloe Grace Moretz, Let Me In, Suspiria) finds a purse left behind on the subway, she makes a point to do the right thing and drop it off with its owner, a woman named Greta Hideg (Isabelle Huppert, Elle, Eva). Upon meeting the older widow, Frances begins a friendship with her until she discovers that Greta has a number of secrets. She’s a very lonely woman and Frances isn’t able to cut ties with her very easily. As the cat-and-mouse game spirals out of control, Frances finds that Greta isn’t ready to let go.

Let me be clear: Greta is a little cheesy. There are elements of it that fall into cliché. After leaving the film, I began to think more about the nature of the characters and I found a couple of plot holes I couldn’t wrap my head around. But all that didn’t really matter to me. The film sets out to tell a creepy stalker thriller, and it succeeds.

Director Jordan propels himself out of these problems by keeping the runtime as tight as possible. There’s only a moment or two toward the end of the film where the pacing struggles, but there’s no time to think as he rockets the narrative forward.

He’s also placed confidence in his leads. Moretz and Huppert are on fire as they match wits onscreen. Huppert’s Greta turns from a sweet older woman into a mild annoyance before evolving into a menacing terror. Seriously, I had my hands shaking during some of the more intense and tightly plotted scenes. Jordan’s film oozes with tension in large part to Huppert’s performance.

Greta’s filled out nicely with solid performances from Maika Monroe (It Follows, Tau) as Frances’s friend Erica, a woman who is a bit more focused on fun than fear, Colm Feore (Chicago, TV’s The Umbrella Academy) as Frances’s father, who is attempting to rebuild a relationship with his daughter after the loss of his wife, and especially the terrific turn from Stephen Rea (V for Vendetta, Black ’47) as the private investigator who is hired to find out more. It’s amazing how much Rea can do with so little screentime.

Greta is pure cheese at times, but I didn’t mind it because I was so entranced and tense during my experience in the theater. The trailers give away a bit too much but overall, this is a very fun and creepy stalker thriller that kept my nerves tight the entire time. I highly recommend seeing this one in the theater this weekend.

 

4/5

-Kyle A. Goethe

 

 

For my review of Neil Jordan’s Interview with the Vampire: The Vampire Chronicles, click here.

[#2019oscardeathrace] Kyle’s Oscar Predictions

Hello everyone and Happy Oscar Day! This one came up quickly but I’m so happy it is here. Today, I thought I would share my Oscar Predictions with you. It’s something I haven’t done in a while but I will try again tonight. Below I will put what I think should win and what I think will win for each award. Feel free to share your thoughts as well in the comments below! Let’s get started…

 

Best Visual Effects

What Should Win: First Man

What Will Win: Avengers: Infinity War

 

Best Film Editing

What Should Win: Vice

What Will Win: Vice

 

Best Costume Design

What Should Win: Black Panther

What Will Win: Black Panther

Best Makeup & Hairstyling

What Should Win: Vice

What Will Win: Vice

 

Best Cinematography

What Should Win: Roma

What Will Win: Roma

 

Best Production Design

What Should Win: First Man

What Will Win: The Favourite

Best Sound Editing

What Should Win: A Quiet Place

What Will Win: A Quiet Place

 

Best Sound Mixing

What Should Win: Bohemian Rhapsody

What Will Win: Bohemian Rhapsody

 

Best Original Score

What Should Win: If Beale Street Could Talk

What Will Win: If Beale Street Could Talk

Best Original Song

What Should Win: “Shallows” from A Star is Born

What Will Win: “Shallows” from A Star is Born

 

Best Animated Feature Film

What Should Win: Spider-Man: Into the Spider-Verse

What Will Win: Spider-Man: Into the Spider-Verse

 

Best Foreign Language Film

What Should Win: Cold War

What Will Win: Roma

Best Documentary Feature

What Should Win: Free Solo

What Will Win: Free Solo

 

Best Documentary Short

What Should Win: A Night at the Garden

What Will Win: Black Sheep

 

Best Live Action Short Film

What Should Win: Fauve

What Will Win: Marguerite

Best Animated Short Film

What Should Win: One Small Step

What Will Win: Bao

 

Best Original Screenplay

What Should Win: Vice

What Will Win: The Favourite

 

Best Adapted Screenplay

What Should Win: BlacKkKlansman

What Will Win: BlacKkKlansman

Best Supporting Actress

What Should Win: Regina King, If Beale Street Could Talk

What Will Win: Regina King, If Beale Street Could Talk

 

Best Supporting Actor

What Should Win: Mahershala Ali, Green Book

What Will Win: Mahershala Ali, Green Book

 

Best Actress

What Should Win: Melissa McCarthy, Can You Ever Forgive Me?

What Will Win: Glenn Close, The Wife

Best Actor

What Should Win: Christian Bale, Vice

What Will Win: Rami Malek, Bohemian Rhapsody

 

Best Director

What Should Win: Spike Lee, BlacKkKlansman

What Will Win: Alfonso Cuaron, Roma

 

Best Picture

What Should Win: BlacKkKlansman

What Will Win: Green Book

 

So there you have it. My picks for the Oscars and my predictions for what will take home the statue. This year I find myself in agreement with my predictions more than most years, but I’m curious where your picks end up. What do you think will win tonight and what do you think should win tonight? Let me know/Drop a comment below!

 

-Kyle A. Goethe

[#2019oscardeathrace] Free Solo (2018)

Director: Jimmy Chin, Elizabeth Chai Vasarhelyi

Cast: Alex Honnold, Tommy Caldwell, Jimmy Chin, Sanni McCandless

100 mins. Rated PG-13 for brief strong language.

  • Academy Award Nominee: Best Documentary Feature [Pending]

 

I’ll be honest. I had no idea what the term Free Solo meant before I saw this movie.

Free Solo is the documentary covering Alex Honnold’s unprecedented climb of El Capitan Wall in Yosemite. The climb, over 3,000 feet high, was completed without ropes or any safety gear at all, hence the term Free Solo. That means is Alex were to slip or fall, he’s a dead man. A documentary crew followed him on this incredible trek, a dangerous idea adding more stress to the climb.

I’ll put it as simply as I can: Free Solo is one of the most intense and exhilarating experiences I have had in the theater in quite some time. Everything leading up to the big event is shown with such gorgeously captivating cinematography. There were times I felt a little light-headed because you feel like you are up there with Alex. That’s the magic of this cinematic experience. Directors Jimmy Chin and Elizabeth Chai Vasarhelyi (Meru) depict this insane sport and the toll it has on those around the climbers. They took me on the climb with them. I felt like a fly on the wall.

I really liked what time they spent diving into Alex’s childhood leading to his decision to become a climber and, eventually, a free solo climber, but I do wish we got some more of that in the film. It’s my one nitpick because I really wanted to study the mind of these daredevils and what makes them do what they do. The surface is merely scratched in the film, and I would have liked more.

The most centralized relationship in the film is between Alex and girlfriend Sanni, and it’s really nicely detailed. I felt for her as she tried to reach him and make him understand what this sport was doing to her, and it’s a great emotional argument of the film.

Free Solo’s striking visuals and its intense personal story is a powerful combination, making it one of the strongest documentary features of the year. I feel bad for you if you missed this one in IMAX, but seek it out when you can and experience this incredible feat for yourself.

 

4.5/5

-Kyle A. Goethe

The Death of Superman (2018)

Director: Jake Castorena, Sam Liu

Cast: Jerry O’Connell, Rebecca Romijn, Rainn Wilson, Rosario Dawson, Nathan Fillion, Christopher Gorham, Matt Lanter, Shemar Moore, Jason O’Mara, Rocky Carroll, Patrick Fabian

Screenplay: Peter Tomasi

81 mins. Rated PG-13 for sequences of violence and action including some bloody images.

 

I remember seeing Superman: Doomsday when I was younger. The animated movie sounded incredibly exciting to me, even though I had not read The Death of Superman, the comic it was based on. It was, to me, probably the most famous Superman run that I could remember, and it was incredibly intriguing as an idea. The animated film version wasn’t very good. I remember finding it slugglishly boring, and that was that. Probably wouldn’t see another version of that story play out, especially with the reception of the most-recent live-action Superman film, Superman Returns. I just figured that was the end of it. To my surprise, DC’s animated films have decided to play this out again, and this new incarnation, The Death of Superman, is thankfully much better.

Clark Kent (Jerry O’Connell, Stand by Me, Boy Band) is struggling internally to tell the love of his life, Lois Lane (Rebecca Romijn, X-Men, TV’s The Librarians) his biggest secret: that he is really Superman. He can see that his secrecy about his past is straining things in their relationship, and if he plans to move forward with their courtship, he needs to figure out how to deal with his identity. He sees fellow Justice League members Batman (Jason O’Mara, The Siege of Jadotville, TV’s The Man in the High Castle) and The Flash (Christopher Gorham, The Other Side of Heaven, TV’s Insatiable) moving forward with their real lives and he wants the same thing. Meanwhile, a team of astronauts led by Hank Henshaw (Patrick Fabian, The Last Exorcism, TV’s Better Call Saul), on a mission aboard the Excalibur space shuttle, witness a boom tube opening and unleashing a meteorite toward Earth. When it crashes, a giant creature is released from the wreckage, and it has a trajectory for Metropolis.

I like the voice cast for The Death of Superman. I feel as though the star players involved really understand their characters and I like how they brought them to life. I also wouldn’t have been able to peg a lot of these performers without having looked at the cast to write this review. The only true standout is Rainn Wilson (The Meg, TV’s The Office), who is woefully miscast as Lex Luthor.

The action is much better in The Death of Superman because it takes the time early on to establish its characters and their motivations. Superman spends the whole of the film fighting with himself to open up and be a normal human. Even The Flash describing his normal life makes Clark pine for one of his own, and yet he is the only meta-human capable to taking down the creature, Doomsday. It’s his internal conflict that makes the external conflict so intriguing.

There’s still some pacing issues in the film, especially with the large-scale fight with Doomsday. It is broken up quite nicely but the narrative does tire out earlier than it should. It’s the same problem that Man of Steel had. Superman is such a powerful guy that the stakes don’t feel like they are there, even knowing how this one is going to end, and perhaps that’s part of it. This is very clearly The Death of Superman, and perhaps it would be a stronger outing to focus on the fact that this is the first part of a two-part story or even just smash it all in one film, a bit of a lengthy film, but perhaps one that doesn’t sputter so close to the finish line.

Overall, though, The Death of Superman is a strong DC Animated film. It stumbles a bit as it builds momentum, but for fans of these animated superhero tales, I think there’s a lot to like on display here. It definitely sets up the sequel really nicely and made me all the more excited to see the conclusion. This is a Superman film for Superman fans.

 

4/5

-Kyle A. Goethe

The Nominees for the 91st Academy Awards

Hey everyone! We officially have our nominees for the 91st Annual Academy Awards. Over the next few weeks, I’ll be going through as many of the nominations as I can, so join me on this journey using #2019oscardeathrace and share your count on our way to 52!

The nominees are:

Best Picture:

 

Best Director:

  • Spike Lee – BlacKkKlansman
  • Pawel Pawlikowski – Cold War
  • Yorgos Lanthimos – The Favourite
  • Alfonso Cuaron – Roma
  • Adam McKay – Vice

 

Best Actor:

 

Best Actress:

 

Best Supporting Actor:

 

Best Supporting Actress:

 

Best Original Screenplay:

 

Best Adapted Screenplay:

 

Best Animated Feature Film:

 

Best Foreign Language Film:

  • Capernaum
  • Cold War
  • Never Look Away
  • Roma
  • Shoplifters

 

Best Documentary Feature:

  • Free Solo
  • Hale County This Morning, This Evening
  • Minding the Gap
  • Of Fathers and Sons
  • RBG

 

Best Documentary Short:

  • Black Sheep
  • End Game
  • Lifeboat
  • A Night at the Garden
  • Period. End of Sentence

 

Best Live Action Short:

  • Detainment
  • Fauve
  • Marguerite
  • Mother
  • Skin

 

Best Animated Short Film:

  • Animal Behaviour
  • Bao
  • Late Afternoon
  • One Small Step
  • Weekends

 

Best Original Score:

 

Best Original Song:

  • “All the Stars” – Black Panther
  • “I’ll Fight” – RBG
  • “The Place Where Lost Things Go” – Mary Poppins Returns
  • “Shallow” – A Star is Born
  • “When a Cowboy Trades His Spurs for Wings” – The Ballad of Buster Scruggs

 

Best Sound Editing:

 

Best Sound Mixing:

 

Best Production Design:

 

Best Cinematography:

 

Best Makeup and Hairstyling:

  • Border
  • Mary Queen of Scots
  • Vice

 

Best Costume Design:

  • The Ballad of Buster Scruggs
  • Black Panther
  • The Favourite
  • Mary Poppins Returns
  • Mary Queen of Scots

 

Best Film Editing:

 

Best Visual Effects:

 

So there you have it. It’s going to be a hell of a month and I’m looking forward to it. Be sure to join me on this adventure and share your thoughts on these nominees.

#2019oscardeathrace

 

-Kyle A. Goethe

Spider-Man: Into the Spider-Verse (2018)

Director: Bob Persichetti, Peter Ramsey, Rodney Rothman

Cast: Shameik Moore, Jake Johnson, Hailee Steinfeld, Mahershala Ali, Brian Tyree Henry, Lily Tomlin, Luna Lauren Velez, Kimiko Glenn, John Mulaney, Nicolas Cage, Liev Schreiber

Screenplay: Phil Lord, Rodney Rothman

117 mins. Rated PG for frenetic sequences of animated action violence, thematic elements, and mild language.

IMDb Top 250: #26 (as of 1/13/2019)

 

I was pretty certain that the Sony Animation Spider-Man movie would disappear into obscurity. Sony, as a company, has been throwing everything at the Spider-Man IP and hoping something would stick. After making a deal to get Spider-Man into the MCU, they proceeded to make a Venom movie not featuring Spider-Man, talks of a Kraven the Hunter film and a Silver and Black film, and then there’s Into the Spider-Verse. None of these properties excited me on the outset, but I was at the very least quite thankful to see Miles Morales finally get the big screen treatment.

Miles Morales (Shameik Moore, Dope, The Pretenders) is a teen struggling with his identity. He attends a boarding school that he doesn’t feel at home in. He looks up to Spider-Man but his father, Jefferson Davis (Brian Tyree Henry, Hotel Artemis, TV’s Atlanta) sees the masked crusader as a menace. All Miles wants is to have purpose, and when he is bitten by a radioactive spider and develops powers similar to Spider-Man’s, he finds that this may be his chance. Matters are complicated, though, when he runs into Peter B. Parker (Jake Johnson, Tag, TV’s New Girl), a Spider-Man not from his universe. That’s not all. Spider-People from all different universes are converging on Miles’s world, and they must work together to fix the problem and get them all home while they still can.

Into the Spider-Verse is an assault on the senses, and I mean that in the best possible way. My eyes actually needed to adjust to the intense color display and terrific voicework displayed in the film. This film actually forced a new animation amalgam to be attempted in order to give it that “jumps off the comic book page” look that makes the film so damn pretty. The process involved rendering the 3D images and then working over them with 2D drawing to give it a comic book panel look. It’s gorgeous and altogether the most impressive feat of the film.

Beyond all that, Into the Spider-Verse has such an impressive and relatable story. Miles is a kid who doesn’t fit in. He even becomes Spider-Man but he doesn’t believe that he is worthy of the mantle. Peter B. Parker is a man who has lost the woman he loves because he was incapable of being the man he needs to be. Even Wilson Fisk (Liev Schreiber, X-Men Origins: Wolverine, TV’s Ray Donovan), the Kingpin, has an understandable motive for his menacing plot. During all this, I didn’t feel the stakes of the film very much, and that’s a fault, but it was so fun to watch that it didn’t bother me like it should’ve.

Into the Spider-Verse subverts expectations so well. There are genuinely surprising moments, twists, and turns in the film, something not easy to do with a character/franchise that is seven films over the past twenty years. The Stan Lee cameo in the film just has so much more packed within it, especially given our tremendous loss this past year. The film even sends up the post-credits scene with theirs, and I won’t spoil it, but it’s my favorite moment in the film.

Spider-Man: Into the Spider-Verse is a strange movie, and it’s also totally brilliant. It exists perfectly on its own, even though some would argue that it is a sequel to the Sam Raimi-directed Spider-Man films (and I agree). It’s to Spider-Man what Cabin in the Woods is to horror films, in that it validates everything without being beholden to any of it. But beyond all that, it’s an amazing story of finding oneself among the craziness of life. It’s a special damn movie. Go see it.

 

4/5

-Kyle A. Goethe

 

 

For more Almighty Goatman,

Ralph Breaks the Internet (2018)

Director: Phil Johnston, Rich Moore

Cast: John C. Reilly, Sarah Silverman, Gal Gadot, Taraji P. Henson, Jack McBrayer, Jane Lynch, Alan Tudyk, Alfred Molina, Ed O’Neill

Screenplay: Phil Johnston, Pamela Ribon

112 mins. Rated PG for some action and rude humor.

 

I was not the biggest fan of Wreck-It Ralph. I had a number of different reasons for my opinion, but I will also say that, at the time, I was carrying a bias about Disney films. After all, Disney is a machine, and like any machine, it has to function similarly at all times. I found the first film to be overly reliant upon video game and arcade nostalgia that bogged it down. I was also much more interested in Ralph’s (John C. Reilly, Chicago, Holmes & Watson) journey and felt it was less interesting when he got involved with Vanellope (Sarah Silverman, Battle of the Sexes, TV’s The Sarah Silverman Program). Wreck-It Ralph was a hit, though (everyone I knew loved it), and while it took six years for a sequel, I was still excited for the wild ride that is Ralph Breaks the Internet.

Ralph and Vanellope are celebrating six awesome years as best friends, and while Ralph is fine with the way his days go, Vanellope wants more. She is tired of the predictability of her game, so Ralph sets out to help her. When his plan fails spectacularly, causing Sugar Rush to break down, it seems like as though Ralph may have inadvertently doomed Vanellope. Fortunately, they find that the replacement part for Sugar Rush is available on the internet, and the two set out to bring it back. Through their adventure, Ralph is forced to face his greatest fear: change.

There’s good and bad to the direction of this Wreck-It Ralph follow-up. It’s similar at times to the story of the first film with video game nostalgia traded out for social media addiction. That being said, the way the social media and internet references work in the film is to force Ralph and Vanellope to examine their lives and change, for good or bad. I think the sequel is more successful in creating real relationships amongst these arcade characters. There’s also a tendency to fall back on Disney properties in the film, a decision opposite to Spielberg’s choice in Ready Player One to seemingly eliminate as many references as possible to his films. Again, though, the Disney Princess scene is absolutely worth the price of admission. As I said, good and bad to these creative choices.

Ralph is a more interesting character this time out. His internal conflict with himself and Vanellope’s choices are so strong and real and accessible. It’s really powerful character direction, something for its viewers to register with as they grow older. I also like how Vanellope is struggling in the sequel, knowing she has a good life but wanting more than that. It makes her more than a cutesy sidekick.

Ralph Breaks the Internet is a good outing from Disney, though not their best. I think it’s a better film than Wreck-It Ralph, and I think the conflict in the film resonates rather nicely. The film falls back on Disney wanting to sell toys, but there’s some good in there too made by strong characters and a strong story arc. It just gets muddled sometimes.

 

3.5/5

-Kyle A. Goethe

 

 

For my review of Rich Moore, Byron Howard, and Jared Bush’s Zootopia, click here.

 

For more Almighty Goatman,

Bohemian Rhapsody (2018)

Director: Bryan Singer

Cast: Rami Malek, Lucy Boynton, Gwilyn Lee, Ben Hardy, Joe Mazzello, Aidan Gillen, Tom Hollander, Mike Myers

Screenplay: Anthony McCarten

134 mins. Rated PG-13 for thematic elements, suggestive material, drug content and language.

IMDb Top 250: #136 (as of 1/11/2019)

 

There’s two major schools of thought one can go down with a biopic. The filmmaker can choose to hit all the major notes on the subject’s timeline, capturing important milestones from the life, or there’s the biopic event film, where one major event is focused on. When it comes to Freddie Mercury, a man larger than life, you really have to hit all the notes, or as many as you can fit.

Bohemian Rhapsody is the story of Queen, but in many ways, it’s the story of Freddie Mercury (Rami Malek, Papillon, TV’s Mr. Robot), an artist lost too soon. Freddie did not come from an artistic upbringing, and he found himself in the right place at the right time when Smile, a band he’d been interested in, needed to replace a lead singer. Brian May (Gwilyn Lee, The Tourist, The Last Witness) and Roger Taylor (Ben Hardy, Only the Brave, Mary Shelley), the remaining members of Smile, joined up with Mercury and, alongside John Deacon (Joe Mazzello, Jurassic Park, G.I. Joe: Retaliation), became Queen.

Bohemian Rhapsody is a more stylized, less historically accurate version of the Freddie Mercury and Queen story, but that doesn’t make it any less enjoyable. It’s led by an unstoppable turn from Malek, an actor who positively embodies Mercury’s many mannerisms with elegance, grace, and without parody. It’s a tough role to disappear in, and Malek proves to be up to the task.

It is Mercury’s relationship with Mary Austin (Lucy Boynton, Sing Street, Apostle) which proves to the most important of the film. Freddie is an eccentric man, to put it lightly, and he perhaps wants more than he can have, but he finds as the story progresses that he is unable to make up for his wants, and Mary’s emotional needs are struggling to be met. It’s a complex relationship brought forth quite nicely in the film.

The Queen portion of the film is undoubtedly the most fun, even if it isn’t 100% accurate. Seeing some of the craziness that went into some of the best music ever put to record is a wonder, and it doesn’t hurt that the film has a kickass soundtrack.

The major problem of the film is its direction, which sometimes feels a little VH1 and without some of the style that you might associate with a band like Queen. There’s something dated about the film, and I’m not referring to the actual events of the film.

Bohemian Rhapsody succeeds as entertainment, and that’s its Number 1 goal. I was smiling from ear to ear for most of the film, and that stayed with me for days afterward. It’s a hell of a fun film with a heart, but it’s made for Queen fans. Those of you that aren’t (and I imagine there’s at least three of you out there) will find little to enjoy outside the incredible performances.

 

4/5

-Kyle A. Goethe

 

 

For my review of Bryan Singer’s X-Men, click here.

For my review of Bryan Singer’s X2: X-Men United, click here.

For my review of Bryan Singer’s X-Men: Days of Future Past, click here.

For my review of Bryan Singer’s X-Men: Apocalypse, click here.

 

For more Almighty Goatman,

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