KING RICHARD***** - BFI London Film Festival 2021 - Day 10

Director Reinaldo Marcus Green's KING RICHARD is an uproarious, crowd-pleasing, but not completely hagiographical biopic of Richard Williams: coach and father of Venus and Serena. The film succeeds because of a tightly structured and powerful script from first-time screenwriter Zach Baylin. It also benefits from powerhouse performances from Will Smith in the title role (taken as read) and scene-stealing Aunjanue Ellis as Richard's wife Brandi. What emerges is a complicated picture of a complicated and imperfect family that somehow, against all odds, raised a Wimbledon winner AND a GOAT. 

As the film opens, Richard is trying to persuade various rich tennis coaches to invest in his daughters, who he has been raising according to his programme to create prodigies. He works them hard, both in tennis and school, because he wants them to avoid being mired in poverty and drugs like the rest of Compton. The threat of violence is ever-present.  Richard tells us how he was beaten up by white men as a kid. His eldest daughter is threatened by local gangs (foreshadowing her real life tragic murder).  We see Rodney King being beaten up on TV. So Richard's desire to create champions is commercial and callous. He clearly states it could've been any sport and that he literally bred the girls for greatness. But at a very basic level, it's not about money but sheer survival. 

Which is not to say that Richard is perfect. He's clearly egotistical, stubborn, a self-publicist and a tyrant. He drives not one but two coaches mad. He drives his wife Brandi mad. And in one of the most powerful moments of the film's second half, she absolutely lets him have it with details of his life that made the audience both gasp and applaud her.  But at the end of the day, whatever he did worked.

That said, it wasn't actually just what HE did. And this film cleverly both sets up the self-made myth of King Richard before deconstructing it. Brandi powerfully argues that SHE was AS influential in raising and indeed coaching the girls as HE was, and provides a powerful role model of a hard-working black woman. As a result, this film partly cuts off one of the criticisms that was brewing in my mind as I watched it: that for a film about two female tennis stars, their three sisters, and their mum, it was kinda weird to centre the only man in the story.  The entire point is that this is what Richard does, and what the women have to fight against. 

I can't say enough about how joyous this film was to watch in a packed auditorium.  Every argument, every tennis success, every tense game had us all on the edge of our seats. The film left me with an even deeper understanding of, and admiration for, these iconic sportswomen and everything that they have achieved.

KING RICHARD has a running time of 138 minutes and is rated PG-13. The film played Telluride and the BFI London Film Festival. It will be released on Netflix on November 19th. 

ALADDIN

I approached the live-action remake of ALADDIN with extreme cynicism. I didn't understand why you'd want to remake the perfection that was Robin Williams in the original animated version, and I had my doubts that mockney action director Guy Ritchie was the guy to do it.  But I have to admit that this film won me over within its first minutes and that by the end the I was a committed fan. It is, in essence, a very faithful adaptation with all the beloved songs from Alan Mencken; all the beloved characters; and even some of the set piece action and dance numbers recreated scene for scene.  But it does so much more in its delineation of character and acknowledgement of current political mores, and yet none of that feels clunky.

But let's start with what this film lives or dies on - the performance of Will Smith as the Genie.  I have to say that he is just wonderful - charismatic, effervescent, truly a warm and loveable figure.  Crucially, Smith makes the figure his own, rather than trying to ape the untouchable Williams, and I love that he gets his own love-story framing device. His genie is almost more human, more warm and more touching that Williams', and the film benefits from that.  Smith's Genie also doesn't dominate the film in the way that Williams' did and that's all to the benefit of the really impressive cast of actors playing the other roles.  I really liked Mena Massoud as Aladdin - he was charming, smart and I really rooted for him. But I felt he was outshone by Marwan Kenzari (MURDER ON THE ORIENT EXPRESS) as a superb Jafar - almost like an Edmund from Lear with a kind of demented logic to his scheming - a poor boy like Aladdin who resents that he doesn't live in a pure meritocracy where his smarts would be properly rewarded.  But most of all, I loved Naomi Scott (POWER RANGERS) as Jasmine.  She has strength and agency and her costumes, while stunning, aren't the cliched skimpy numbers from the original film. Mencken gives her a new song that shows her desire to be a just ruler and decide her own fate, and in this film Jasmine is not a damsel in distress but truly the protagonist to Jafar's antagonist.  I really rooted for Jasmine and Aladdin to get together, but even more I rooted for Jasmine to rule, and that's as it should be.

All of this lovely character work is situated inside a truly stunning production design that Guy Ritchie's kinetic camera-work shows off to its maximum. It turns out he really was the guy to direct this film and I really can't fault any of it. 

ALADDIN has a running time of 128 minutes and is rated PG-13. It was released earlier this year and is now available to rent and own.

SUICIDE SQUAD

Short take - Nice one DC Comics, with Suicide Squad you've now made the two most unwatchable films of the year. And you've hired the same team to make the sequel in what I can only assume is a conceptual art installation of irony. Let's cut the crap and just take a hundred million dollars and burn it on the sidewalk outside the Mann Chinese Theatre. At least we could get the side benefit of toasting some marshmallows. Just back away from the movie camera. Now.

Considered review - SUICIDE SQUAD comes on the heels of DC Comics attempts to establish a movie franchise analogous to Marvel's, where individual character movies alternate with ensemble pieces, each of which adds to the greater mythos.  The relaunch began with this year's dull-as-dishwater BATMAN VS SUPERMAN flop, and continues its disastrous run with this new ensemble piece.  The plot picks up from BvS with a world mourning the death of Superman and wary of the rise of "metahumans".  Accordingly, a government official decides to band together a bunch of both super-creatures and just insane people, and offer them time off their sentences if they'll help keep America safe.  But, in the manner of Nolan's Batman films, and basically every other superhero movie, supply creates its own demand, and the very people meant to make America safe contain within their host, one who'll destroy the earth.  What we should get from all this is a kind of DEADPOOL meets THE AVENGERS in which its the bad guys who band together to hunt down other bad guys. 

SEVEN POUNDS - enigmatic, emotional drama

It is testament to Will Smith's brand-name that he can bank a movie that is outside his core competence (drama rather than comedy), with a title and marketing campaign so evasive that the audience has little idea what to expect going into the film. I'm not going to spoil the mystery either: it's absolutely integral to the intellectual and emotional pay-off of the movie.

Suffice to say that SEVEN POUNDS is a daring film - crafting an emotionally uplifting drama out of a rather macabre and implausible premise. Director Gabriele Muccino and DP Philippe le Sourd follow a world-weary, driven Ben Thomas (Will Smith) around the California suburbs as he investigates the lives of seemingly random people. As the movie unfolds, we become as intrigued by Ben's motives as one of the targets of his investigation, a charming woman called Emily (Rosario Dawson). The remainder of the film is concerned with the development of their relationship despite the asymmetry of their knowledge about each other.

The camerawork is patient, slow and intimate and such is the native charm of Smith and Dawson that the movie is mysterious and romantic rather than sinister and saccharine. I love the faded, dusty, world-worn feel that the movie has. The acting is perfect throughout: Smith shows his range; Dawson her charm; and in smaller parts Barry Pepper ad Judyann Elder are memorable. Suffice to say that I think this is a worthwhile movie, and, despite my initial hesitation, I spent the final half hour in tears.

SEVEN POUNDS was released in 2008 in the US and Brazil. It is currently on release in Singapore, Australia, Germany, Peru, Portugal, Iceland, Italy, Mexico, Belgium, France, the Netherlands, Russia, Estonia, Spain and the UK. It opens on January 28th in January and on February 6th in Israel, South Korea, Finland, Norway and Sweden. It opens on February 12th in Kazakhstan; February 19th in Croatia; February 21st in Japan; February 26th in Argentina and Greece; March 5th in Slovakia; and on March 12th in the Czech Republic and Poland.

The good news is that Will Smith's career can survive HANCOCK

I like Will Smith. He has a charming, amiable personality and he's brilliant at making wholesome family comedies. He's so damn charming he survived WILD, WILD WEST. So, claims that HANCOCK is going to do to Smith's career what THE LAST ACTION HERO did to Arnie are likely wide of the mark. Moreover, while HANCOCK is a deeply flawed movie, it's by no means a complete disaster.

The first half of the movie is actually a lot of fun. It's laugh-out loud funny and it contains cool special effects and a buddy relationship to believe in. Will Smith plays a reluctant superhero called Hancock. He feels unappreciated and reacts by being rude to the people he's helping. Hancock is transformed into a considerate, professional superhero by a warm-hearted PR man called Ray (Jason Bateman). It's wonderful to see our down-trodden hero finally get the public recognition he deserves.

Sadly, the second half of the movie is weird, rushed, logically flawed and completely different in tone to the first half of the film. This is motivated by an easily spotted plot twist. It's as though the screenwriters didn't have the balls to follow through on their premise: what happens when a superhero has as complicated an emotional life as your typical adult? Even more interestingly, they hint at, but don't have the balls to address fully, the issue of inter-racial dating. Instead, we get a fudged, rushed ending that makes no sense at all. And yes, I know superheroes are a fantasy but the rules of the game have to be consistent enough to support our willing suspension of disbelief.

HANCOCK is released this weekend in the USA, the UK, Canada, China, Egypt, Estonia, Iceland, Indonesia, South Korea, Argentina, Australia, Germany, Hong Kong, Hungary, Singapore, Slovenia, Brazil, India and Venezuela. It opens the following weekend in Belgium, France, the Netherlands, Russia, Mexico and Poland. HANCOCK opens on July 16th in Denmark, Finland, Norway, Spain and Sweden. It opens in August in Turkey and Japan and in September in Italy and Greece.

Early review from Al - I AM LEGEND

This review is brought to you from Al, who can usually be found here.

Just got back from Kuantan couple hours back - still recuperating. It was raining pretty much every second I was there, but turned out quite a therapeutic experience if you take the nightmarish weather aside. Anyhu, managed to catch I AM LEGEND while I was there - a film I wasn't particularly excited about, but finally decided to watch (it was between this and ALVIN AND THE CHIPMUNKS) knowing how in the past, the charismatic Will Smith was the only good thing about movies like PURSUIT OF HAPPYNESS and HITCH that were otherwise massive stinkers.

Oh wow, looks it's Will Smith trying what he does best - saving the world!*Applause* But alas, Smith looks fatigued and reluctant in this movie - out of his usual energetic self, from start to end he's pretty much moping around and by the time a pedantic attempt at an emotional climax arrives, it's evident that nothing can save this movie from the self-destructive monotony it's chosen to pursue. I understand where it intends to go - to try and construct that magnificent 28 DAYS LATER effect - relying on the sights of a usually chaotic city (in this case, NYC) now disturbingly quiet & inhabited only by overturned cars, rubbish and a main character who seems to have lost hope in mankind and lost his soul along the way. But here, it's just dead monotonous and dreary as fuck. It just doesn't work on any level. Oh,and it probably didn't help that the "Dark-Seekers" were as scary as Spongebob.

Possible SPOILER ahead. As if it weren't bad enough that for an entire three quarters they put all this weight on this bloody dog I really wanted out of the picture from the get-go: not that I hate dogs, but you could see from the start the way they established the man-dog relationship in this tacky, superficial dog-food commercial way that they were eventually going to USE the dog for some exploitative purpose. Oh,and once they're done with the dumb disposable dog as a plot-driving tool - suddenly this pile of dung about Bob Marley Being A True Inspiration and Survival Philosophy and Where is God pops out of NOWHERE - no,seriously, the film walks miles just him and his bloody canine, talking about nothing specifically, then without any build-up or the slightest hint this random mother-son pair show up and before you know it they're having THAT argument about The Human Race and Fate. At this point, I felt like choking myself on popcorn.

It's just so damn stupid and ridiculous-I can't put it any better than that.Think movies like Transformers,The Day After Tomorrow-movies with really one-dimensional,self-important characters with laughably shallow motivations at the center,where the writers have this EPIC movie in mind and they take everything so goddamn serious the final film turns out some sort of banal mockery of itself.There's always a cheap family-related backstory,a whole proud bunch of unfunny jokes and the action scenes seem lavishly done but are flatly disappointing.There is absolutely nothing to salvage from this film.

Spoiler-free: I went in hoping for a half-decent post-apocalyptic film with mildly scary devolved humans, and I also read beforehand they were showing a 7-minute Dark Knight preview before I Am Legend in US theatres and also, I vaguely remember seeing online a screenshot of the making for this film featuring Charlize Theron. Well,obviously none of those materialized.

I AM LEGEND is on release in the US, Indonesia, Hong Kong, Malaysia, Thailand, Canada, Japan, South Korea, Taiwan and the US. It opens next week in Spain, France, Belgium, Israel, the Netherlands and Denmark. It opens in Christmas week in Denmark, Egypt, Iceland, Norway and the UK. It opens in January in Greece, Argentina, Australia, New Zealand, Estonia, Turkey, Germany, Slovakia, Bulgaria, Italy, Brazil, Russia and Sweden.

Bina007 adds: If we were gonna get a remake of The Omega Man, then wouldn't it have been cooler to get a Ridley Scott/Schwarzenegger remake as originally intended? Apparently Gulliermo del Toro also turned Smith down which is how we ended up wih relative newbie Francis Lawrence (CONSTANTINE). I also have a soupcon of suspicion about any flick that's green-lit without a script in place.

THE PURSUIT OF HAPPYNESS, I mean, hard cash

THE PURSUIT OF HAPPYNESS is an astounding movie. It's being sold as this emotional tearjerker about a solid-gold dad who lifts himself and his cute little kid out of poverty through sheer hard-work and endurance. It's a real-life American Dream. We know the dad is a good guy because he's being played by Will Smith, whose whole public persona is of a good guy and solid father. And we know the guy is smart because he can solve a Rubik's cube. And hey, his kid really is very sweet. We see this guy suffer eviction, the IRS jacking his savings and even homelessness, but he makes it in the end. Excellent.

The subversive part is this: the character Chris Gardner surely wants to be a good father and put his family on a solid financial footing. But he also wants a fast car painted pillar-box red. In fact, the entire motivating force of the movie is summed up in a quick scene where Gardner sees a guy pull up to a skyscraper in a sweet convertible. He asks him what he does for a living, and decides that that's what he's going to do. Because, in this movie, The Pursuit of Happyness is actually The Pursuit of Cash. Pure and simple. Dress it up with cute kids and gritty cinematography all you want: the guy wants to be rich.

Ain't nothing wrong with that. I personally hope to be very rich all my life. But it's just funny to find that underneath the soft, cuddly, sweet, sentimental exterior of this movie (imagining dinosaurs in the train station: ye gods I nearly vomited) beats the cold, ruthless heart of a greedy capitalist bastard. The kind of guy who bilks a cab fare or pushes onto a bus in order or lies that he's in the neighbourhead or jumps the call list in order to get ahead.

Subversion aside, there are some other things to like. Will Smith does give a nuanced, quietly impressive performance, and his real-life son Jaden is highly impressive as his on-screen son. I also appreciate a script in which THE MAN isn't holding back the struggling worker. Gardener faces obstacles but they aren't the vicious injustices of an uncaring system.

Still, I can't honestly recommend a film that was at least half an hour too long, repetitive and nauseatingly sentimental in parts. I really don't need to see Will Smith running at break-neck speed across a road to get to get to a life-changing appointment so many times.....And don't even get me started on Thandie Newton's hysterical performance as Gardner's haggard wife. Poor direction or poor chocies on Newton's part? Who knows? And who cares? Because after an hour and a half I really didn't care any more.

THE PURSUIT OF HAPPYNESS is on release in the USA. It opens in Australia tomorrow and in Italy and the UK on the 12th. It opens in Germany and Israel on the 18th and in Japan on the 27th and France on the 31st. It opens in Argentina, the Netherlands, Brazil and Spain on Feb 2nd and in Belgium, Estonia, Finland and Venezuala on the 9th. It opens in Hungary on the 15th, Sweden on the 23rd, Singapore on March 1st and Turkey on March 2nd.

HITCH - formulaic rom-com saved by Will Smith

HITCH is a paint-by-numbers romantic-comedy featuring Will Smith and Eva Mendes, Kevin James and Carmen Diaz-lite, Amber Valetta. Smith plays a “date doctor” who specialises in coaching men with low self-esteem on how to appear attractive to their dream-women. He is helping the earnest, sweet, but unattractive Kevin-James-character win the misunderstood social butterfly Amber-Valetta-character over. Cue lots of “odd couple” type jokes. Meanwhile he is also wooing the Eva-Mendes character. This chick has a lot of trust issues, and is also the gossip columnist who exposes the James-Valetta relationship. Cue lots of comedy-misunderstandings.

Now, I have nothing against romantic comedies per se. It just so happens that the majority of romantic-comedies produced by Hollywood studios are formulaic superficial nonsense, usually designed as vehicles for some cute star and directed by a talentless hack. In addition, they mostly have plots that rely on key members of the cast forming ridiculous misunderstandings of each other’s motives and actions that in the real world would be cleared up in a second, but in the tortuous world of celluloid dating take a more marketable ninety minutes to unravel. In the case of HITCH, the hack director is Andy Tennant, who seems to specialise in these disposable comedies. (I submit that monstrously flawed Reese Witherspoon-Josh Lucas vehicle, SWEET HOME ALABAMA into evidence for the prosecution.)

Having said all this, I actually rather enjoyed HITCH and that is down to one factor alone: Will Smith. It is testament to how charming Will Smith is that he can single-handedly sell you a movie that is the utterly formulaic. In fact, he is so charming that he can almost makes us believe that men would actually pay the “date doctor” to learn cheesy lines like, “life is not the amount of breaths you take, it's the moments that take your breath away.” Or that women would be impressed by lines like: “Never lie, steal, cheat, or drink. But if you must lie, lie in the arms of the one you love. If you must steal, steal away from bad company. If you must cheat, cheat death. And if you must drink, drink in the moments that take your breath away.” As you can see from these *choice* quotations, HITCH is a really schmaltzy movie. Its appeal rests solely on casting Will Smith in the lead role. I think that alone just about saves it from the trashcan of cinematic history. But, it’s a close call.

HITCH is already on release in the US, Germany and Austria and opens in the UK today. It opens in France next week.