Game Night (2018)

Greetings Loved Ones! Liu Is The Name, And Views Are My Game.

Jason Bateman and Rachel McAdams are an incredibly competitive couple. They met in college, where they bonded over the fact that they had to win at just about everything. And they still do. Every week, they invite all their friends over for a game night, where they play pictionary, charades, and other such party favorites. And, as you might imagine, they take it way too seriously. Bateman, especially, as he’s incredibly jealous of his brother, Kyle Chandler, a wealthy Wall Street broker who joins them from time to time. One night, Chandler decides to spice things up a notch, and so hires a group of actors to “kidnap” one of the guests as part of a murder-mystery scenario. Unbeknownst to Bateman and company, however, the guys who come in and take Chandler away aren’t actors, and the danger they find themselves in is real. Now, if they want to make it through the night, they’re going to have to find Chandler, and unravel the mystery of what’s really going on.

Game Night is a perfectly fun, perfectly competent bit of escapism. It’s well-shot, the leads have a good rapport with one another, and, unlike a lot of other comedies that come out these days, it is genuinely funny. I saw it in a theater full of people, and they were having the time of their lives. I didn’t laugh much, but that’s more because I’m a person who doesn’t really laugh at films, even if they’re funny. The only movie I ever really laughed at in a theater was Get Out, but that’s another story. Game Night is funny, and if you want to just go to the theater and laugh, you’ll probably be satisfied. And I wasn’t lying when I said the movie was well-shot. The cinematography in this film is actually quite impressive. There’s one sequence in a house where Bateman and McAdams are being chased through all these rooms that’s done in one, continuous shot, and when I saw it, I thought to myself, “wow, that’s good filmmaking right there.” This picture is written and directed by John Francis Daley and Jonathan Goldstein, the writing duo responsible for Spiderman: Homecoming, and the upcoming Flashpoint, and watching this flick gave me hope for the latter. So, yeah. Game Night is fun.

But it’s not perfect. I did have problems with the movie. Probably the biggest one I had is Bateman and McAdams themselves. It’s not that they weren’t funny. They were. It’s the fact that that’s pretty much all they were. There really wasn’t anything else to their characters than “competitive couple who make quips.” Yes, there’s a subplot involving her wanting to have kids, and him not being ready, but that’s such a common detail for these kinds of films that it almost doesn’t count. They also do this thing where, no matter what situation they’re in, they act like it’s no big deal. And I understand that that’s kind of the underlying joke, the fact that they don’t understand the danger they’re in, but, after a certain point, they can’t keep doing that. They need to acknowledge the gravity of their situation, and take things seriously. But they never really do. There are several points in this movie where they know that they’re in real danger, and yet, they still make jokes and act like it’s all a game. In one scene, for instance, McAdams literally has to dig a bullet out of Bateman’s arm, and the two are acting like it’s nothing. Why? Why are they so calm? For me to properly express what I’m talking about, I have to compare this to another movie; Date Night with Tina Fey and Steve Carell. In that film, they play a married couple who, hoping to reignite the passion that’s been lost in their relationship, go to a fancy restaurant in the city, get mistaken for some criminals, and get pulled into a crazy, action-crime caper. As funny as they both are, there are moments where they show genuine emotion, crying, being scared, and even being tender with one another. There’s a scene in a car where they really let out their feelings, and, to this day, it still gives me chills. Every time I watch it I think, “wow, that was a lot deeper, and considerably better acted, than I would have expected from this kind of a comedy.” There’s no scene like that in Game Night. There are scenes that are like that here, but, either because of the writing, or the fact that McAdams and Bateman just aren’t as good actors as Fey and Carell, don’t carry nearly as much pathos. There are also some annoying secondary characters, like this dumb guy who brings an Irish woman to the party, and who has an obsession with Fight Club, who just got on my nerves. I was dreading whenever he would appear, and I couldn’t wait for the film to cut away from him. That’s not good.

In the end, however, I do think the good in Game Night outweighs the bad. No, it’s not deep or profound, and, no, it’s not particularly memorable. But the cast are funny, and it’s well-made enough to keep you invested for the whole thing. For that reason, I say, give it a look.

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Black Panther (2018)

Greetings Loved Ones! Liu Is The Name, And Views Are My Game.

Thousands of years ago, a meteor containing the precious metal vibranium crash-landed in Africa, and, upon finding it, five tribes banded together to create the nation of Wakanda, and used their discovery to become the most technologically advanced civilization on Earth. But, rather than share their knowledge with the world, or help other African peoples when they were being colonized and enslaved, the Wakandans kept to themselves, and even went so far as to kill those who tried to cross their borders. For centuries, the Black Panthers, the rulers of Wakanda, have kept up this tradition. Now, though, the new Black Panther, T’Challa, must decide whether or not he will continue to uphold this practice, as their is an outsider, an American of Wakandan descent, who is challenging him for the throne, and who believes Wakanda should use its technology to help Black people across the globe rise up and take control.

Black Panther is a movie I was very excited for. Not only is it directed by one of my favorite new filmmakers, Ryan Coogler, it’s starring some of my favorite actors, Michael B Jordan, Lupita Nyong’o, and its a genre film that touches upon social issues. You might not have noticed, but I’m kind of a sucker for those. So when I sat down in the theater today, I was pumped. I was there. And when I walked out, I was very satisfied. Black Panther is a lot of fun, and I do think you all should see it. In terms of pure craftsmanship, acting, cinematography, costumes, music, I have no complaints whatsoever. This is a gorgeous looking, and sounding, movie. And everyone in the film gives it their all. The stand-outs, for me, are Michael B Jordan as the ruthless, but highly sympathetic villain, Eric, and Danai Gurira as the Wakandan general Okoye. Both give highly memorable, highly charismatic performances. I also like the world this film created, with Wakanda looking absolutely stunning, and I really enjoyed the questions it raises. For all these reasons, I definitely think Black Panther is worth a watch.

That said, I do have problems with the movie. And I realize that, by saying that, I just earned the ire of a substantial portion of the internet. But I don’t care. I want to make movies, and the best way to do that is to learn from the flaws of others, and this film has a few. For starters, there is a long, long stretch where nothing of much import happens. There are a lot of scenes where we basically get told the history of Wakanda, and, while they are necessary to understanding the world, they don’t really advance the plot in any way. Hell, the main plot, Eric coming to Wakanda to claim the throne and begin a global revolution, doesn’t really materialize until about an hour in. That’s a pretty long wait. Now, I do want to be clear and say that that first hour isn’t boring, but, if you cut several subplots out, including a whole sequence in Korea where the heroes chase down Andy Serkis, the movie would be tighter, and more interesting. The conflict between Eric and T’Challa, between new and old, globalism and isolationism, is fascinating, and considerably more compelling than Andy Serkis wanting money. On top of this, T’Challa, the main character, is kind of bland. Part of this has to do with the fact that all of the supporting characters are so interesting, with his sister, Shuri, his general, Okoye, and mother, Ramanda, all being highly charismatic and fun, but it also has to do with the fact that he’s a very passive protagonist. What I mean by that is, in most films, a character actively tries to accomplish a real, tangible thing, like winning a contest, finding a killer, or finishing an art project. In so doing, they realize that they possess a certain flaw, and change. Now when I say they “actively” pursue the goal, I mean they make the first moves, as opposed to just reacting to things. It’s the difference between Raiders Of The Lost Ark, where Indie chooses to go after the ark, and devises several of the strategies for getting it, and Superman: The Movie, where Clark Kent only decides to be a superhero after the ghost of his father tells him to. For a substantial portion of Black Panther, T’Challa doesn’t have a goal. He doesn’t want any one, tangible thing, like an arc, a grail, or the meaning of the word “rosebud.” He just walks around, and responds to what other people tell him. And then, when the main plot does kick in, he still remains highly reactive. Yes, he undergoes a change, realizing after fighting Eric that Wakanda needs to share its technology with the rest of the world, but he himself doesn’t really want anything. And, finally, as impressive as the film is in terms of its acting, cinematography  and music, there are moments here where the CGI is surprisingly bad. In one scene, for instance, Eric and T’Challa are fighting on a train track, and there were moments where they were flipping around that took me out of the picture because of how fake everything looked. And in another scene, T’Challa is gazing up at this cliffside where all these various Wakandan tribes are standing, and it looked like elements that were just copied and pasted onto the frame. Which is disappointing. This film had such a huge budget, and so many talented people working on it that I’m honestly kind of shocked it had such shoddy CGI.

All that said, the good in Black Panther far outweighs the bad. This is a well-acted, beautiful-looking, highly thought-provoking superhero film, which does what I don’t think any superhero film has done before, and that’s tell its story from a distinctly black, distinctly African perspective. For that reason, coupled with some superb performances, I say, go out and see this. You won’t regret it.

Underrated Directors Who Should Totally Helm A Blockbuster

Greetings Loved Ones! Liu Is The Name, And Views Are My Game.

Directors; to many casual film goers, they are the driving force behind all aspects of a movie. And while those of us who actually work in film, writing scripts, editing footage, mixing sound and so on, know that this isn’t true, it is true that directors can have a huge influence on a picture’s look, tone, and style. And that look and style can attract audiences, and make the pictures better as a whole. Now there are certain directors whose look and style have become well known to the public–the Spielbergs, the Burtons, the Tarantinos–but there are others whose talent is clear when you watch their films but, for whatever reason, they and their work have remained out of the spotlight. I’d like to remedy that today. Here is my list of awesome, underrated directors who should totally helm a blockbuster. Why a blockbuster? Because that’s what most people see, and, if we’re being honest with ourselves, it’s the only way most of us will ever hear about these artists.

1. Bong Joon-Ho.

  • What They’ve Done: The Host, Snowpiercer, Okja.
  • What I’d Like Them To Do: A Star Wars Movie.

Perhaps the best-known filmmaker on this list, Bong Joon-Ho is one of my all-time favorite directors, and a household name back in his native Korea. And yet, despite all his critical and commercial success in Asia, he remains relatively unknown in the West. Film nerds have probably watched a few of his flicks, but the vast majority of audiences aren’t familiar with his sumptuous visuals, dark humor, sudden shifts in tone, and biting social commentary, all of which make him ideal to helm a Star Wars movie. Just watch The Host, see how he shoots action, writes villainous characters, and uses creature effects, and tell me you couldn’t see him directing an episode in a galaxy far, far away.

2. Jaume Collet-Serra.

  • What They’ve Done: Non-Stop, The Shallows, Orphan.
  • What I’d Like Them To Do: A MIssion Impossible Movie.

Best known for his many collaborations with Liam Neeson, Spanish director Jaume Collet Serra has a habit of taking silly genre scripts, and turning them into much better films than they have any right to be. Seriously. If you take a hard look at the plots of any of his features–Unknown, Non-Stop, Orphan–they don’t really hold up. But the films themselves are so well-acted, so beautifully shot, and so viscerally entertaining that you don’t really care. Which makes him an ideal match for the Mission Impossible franchise, which, let’s be honest, isn’t  really famous for having the most believable story lines, but whose insane action set pieces more than make up for that. And let’s not forget, several of Collet-Serra’s flicks, like Unknown, have espionage elements to them. So it’s not altogether out of his wheelhouse.

3. Wes Ball.

  • What They’ve Done: The Maze Runner Trilogy.
  • What I’d Like Them To Do: A Fast & Furious Movie.

Say what you like about the Maze Runner films–I, personally, am not a huge fan–they have amazing action sequences. Even these movies’ harshest critics agree that the chases, the fight scenes, and the stunt work are incredible, and that the director, Wes Ball, has a good eye for action. So what better franchise to put him in than the Fast & Furious, which we all can agree is extremely light on story, but very heavy on amazing set pieces? I have no doubt whatsoever that Mr. Ball could concoct some truly bonkers action scenes, and give this series’ fans the high octane thrills they crave.

4. Mike Flanagan.

  • What They’ve Done: Oculus, Hush, Gerald’s Game.
  • What I’d Like Them To Do: A Batman Movie.

One of this generations true horror masters, Mike Flanagan’s films work, not just because they’re beautifully shot, and possess ghosts and serial killers, but because of their fascinating explorations of their characters’ pasts and psyches. Gerald’s Game and Oculus are all about people revisiting childhood trauma, and trying to work through it. And if there’s one blockbuster franchise that relishes horror, and childhood trauma, it’s Batman. He’s a tormented character, who just can’t let his past go, and several of his rogues, the Joker, Scarecrow, Two Face, are horrifying manifestations of various mental illnesses. So who better to helm a Batman film than a horror master with an interest in dissecting the minds of damaged people? Well, okay, I’m sure there are loads of filmmakers who’d be totally great for Batman, but Mike Flanagan is at the top of my list.

5. Takashi Miike.

  • What They’ve Done: 13 Assassins, Audition, Ichi The Killer.
  • What I’d Like Them To Do: A Predator Movie.

A prolific and controversial director, whose work I’ve written about before, Takashi Miike is perfectly suited for the Predator franchise. Why? Because just like John McTiernan’s 1987 classic, which began as action, and ended as horror, many of Miike’s films blend genres and tones. Several of his features, like Yakuza Apocalypse and Ichi The Killer, synthesize elements of thrillers and horror. Many more, like Fudoh: The New Generation, Blade Of The Immortal, and Terra Formers, include insane, stylized characters with insane, stylized weapons i.e. the exact kind of fighters that the Predators would want to hunt. And, as if this needs mentioning, Miike is superb at crafting creative, bloody fight sequences, which are precisely what this franchise thrives off of.

Hero (2002)

Greetings Loved Ones! Liu Is The Name, And Views Are My Game.

In a period of Civil War, a ruthless king is poised to take over all of China. All that stands in his way are three assassins–Long Sky, Broken Sword, and Flying Snow. For 10 years, they have thwarted his efforts, and personally tormented him, to the point where he can neither sleep, nor remove his armor. Now, though, after more than a decade, a Nameless Warrior claims to have slain them all. To see if this is true, the King summons the swordsman to his palace, and ask to hear how he achieved such an impossible feat. As the Nameless Warrior talks, however, the King starts to suspect that he may not be who he says he is, and that he might have ulterior motives for being there.

Hero is colorful, melodramatic, beautifully-choreographed, and surprisingly philosophical. It is a film that I loved when it first came out, and that I can appreciate even more, now that I know about all the effort that goes into movie-making. From a purely technical perspective, it’s perfect. The shot composition, use of color in costumes and sets, editing, music and fight choreography are all flawless. It holds up after 15 years, and for good reason. Every single earthshaking,gravity defying moment was done by actual stuntmen, with practical effects. Yes, it’s all very heightened, but it all looks real. Because it is real. And that makes it so much better. The movie is also surprisingly thought-provoking. Most people go into martial arts films expecting pretty visuals, but not much else. Hero, however, takes a more grounded approach to its storytelling and characterization, and actually has some pretty interesting things to say. At its core is the question of what is more important, the greater good, or personal loyalty, and I, for one, think it handles that topic with both care and insight. All of this can be found in the relationship between Broken Sword and Flying Snow, played by my all-time favorite screen couple, Tony Leung and Maggie Cheung. They are lovers torn apart by that central question; what’s more important to me, loyalty or good? By the movie’s end, both are left (literally) heartbroken, because of their inability to compromise. Their downfall is both a joy and a torment to watch. And, as always, they’re chemistry is effortless.

Now, with all that said, I’m not above admitting that this film has problems. Some are simple matters of personal taste. Others are larger, and story-related. The biggest, for me, is the fact that you don’t know the characters too well. This is due, in large part, to the fact that we see the same story unfold multiple times, from different perspectives, like in Rashoman. In each version of events, the character’s personalities and goals are changed to fit the views of the teller. In one version, for instance, Broken Sword and Flying Snow are petty, jealous and violent. That’s because the narrator wants us to think they are. In another version, however, they are shown as loving, loyal, and willing to do anything to keep the other safe. That’s because the new narrator views them that way. As such, you don’t get to know the characters very well. Or, at least, not until the end. The dialogue is also very on the nose and melodramatic, with no one sounding like an actual human. Yes, that’s to be expected for a martial arts period piece, but still. The third flaw, and the one that matters most to me, personally,  is the way the film treats Zhang Ziyi’s character. She plays Broken Sword’s assistant, Moon. In one version of events, she is his lover.  Or, rather, in that version, Broken Sword is angry at Flying Snow, and so he more or less rapes Moon to make Snow jealous. Yes, the film implies that Moon has feelings for him, and I suppose that’s meant to make his assault of her slightly less awful. But he does still grab her without warning, throw her to the ground, rip her clothes off, have his way with her, and then kick her out. And the movie does show Moon crying after this, so I’m not sure how to feel. When I first saw this film back in 2004, I was only about 9 years old. I didn’t know what sex, let alone rape, was. And yet, even then, when I watched this scene, I got upset. Something about it felt wrong to me, and it still does, all these years later. It’s my least favorite aspect of an otherwise awesome movie, and if you do watch the film, maybe fast forward through that part.

But, all in all, Hero’s visual brilliance, strong performances, epic score and gripping narrative more than make up for its flaws. And they certainly make the picture, as a whole, worth watching. Don’t hesitate to give it a look.

The Commuter (2018)

Greetings Loved Ones! Liu Is The Name, And Views Are My Game.

Michael McCauley is a former cop, struggling to get by. He’s got a wife, a son about to start college, two mortgages, and a less than well-paying job as an insurance salesman. Everyday, he commutes to the city, getting to know the passengers and conductors who ride with him. One day, however, after being unceremoniously fired from his job, a mysterious woman called Joanna sits down across from him, and starts up a conversation. She claims to be a psychoanalyst, studying how different people react to different circumstances. She gives Michael the chance to prove what kind of a man he is by posing him a question. If he were told that there was $25,000 hidden on the train, and that, if he found a passenger who didn’t belong, a passenger who’d stolen something, he’d get that money, what would he do? Michael is skeptical, until he finds the aforementioned money in the bathroom, and realizes that he’s just gotten pulled into something much bigger, and more dangerous, than previously thought.

The Commuter is the fourth collaboration between Liam Neeson and Spanish director Juame Collet-Serra, who previously teamed up on Unknown, Non-Stop, and Run All Night. Now, if you’ve seen any of those movies, or perhaps the directors other flicks, like The Shallows, you know what to expect here. You can expect good acting, good camerawork, and enough visceral thrills to keep you invested, despite a preposterous, and, in many cases, predictable, storyline. In other words, you can expect a good, but somewhat forgettable, time at the movies. And that’s what I had with The Commuter; a good time.

It’s thoroughly predictable, with me being able to guess who the mystery passenger and the main bad guy were about halfway through, and the dialogue is very on the nose. There’s a conversation between Liam Neeson and his former partner, played by Patrick Wilson, in a bar, where they literally just spell out each other’s backstories to the audience. And yet, the cast, which includes so many amazing character actors, like Jonathan Banks, Vera Farmiga, and Sam Neil,  is so good, the camerawork is so slick, and the pace is so quick that you wind up not caring. This is genre filmmaking at it’s best. The plot is by-the-numbers, and the characters are stock, but the actors playing them are all so talented, the action sequences are so gripping, and the overall production values are so good, that you can just sit back, and enjoy the ride. I certainly did. Will I remember this flick in a few weeks? Probably not. But, for a movie that’s just trying to tell a fun, fast-paced story, with good actors, it more than delivers. Don’t hesitate to give it a look.

Crouching Tiger, Hidden Dragon (2000)

Greetings Loved Ones! Liu Is The Name, And Views Are My Game.

Li Mu Bai has long led a warrior’s life. But now, after years of bloodshed, he’s determined to turn over a new leaf. So, to prove to everyone that he’s done killing, he gives his sword, the legendary Green Destiny, to Yu Shu Lien, a fellow warrior, and unrequited love interest. But when the Green Destiny is stolen, and Yu and Li’s investigation brings them to the home of a government official, they realize that there’s more to this story than meets the eye.

Crouching Tiger, Hidden Dragon is a movie I have loved literally my entire life. Not only was it the first film I ever saw, but it was also the movie that made me want to make movies. Seriously. As soon as I watched this back in 2000, I got a camera, and made my own kung fu movie, Crouching Lion, Hidden Eagle. Any picture that can get a six year old who doesn’t even know what a camera is to want to make movies is doing something right. And I’m not the only one who thinks that. To date, Crouching Tiger, Hidden Dragon remains the highest grossing foreign-language film in American history, as well as the most critically-acclaimed martial arts movie of all time; with a record four Academy Awards to its name, and ten nominations, including Best Picture. But why was it so beloved? Why do people still remember it after so many years? What, to put it bluntly, makes this movie so good?

Well, several things, actually. The first is it’s script. Crouching Tiger, Hidden Dragon is a very well-written movie, with it actually getting nominated for Best Adapted Screenplay, and for good reason. Every single character is given depth, personality, and pain. The film is almost three hours long, and it contains many quiet scenes where characters just sit and talk to each other about their dreams and desires. As such, the protagonists of this film are considerably more well-rounded than those in other martial arts movies. The second thing that makes this movie awesome is the camerawork. Crouching Tiger, Hidden dragon is beautifully shot, with every single frame dripping with life and color. Peter Pau, the cinematographer, won an Oscar for lensing this film, and I can totally see why. Every time I watch it, I feel like I’ve been transported to another world, and it’s all thanks to the images onscreen. The third thing that makes Crouching Tiger, Hidden Dragon incredible is the acting. Everyone gives a subtle, restrained performance, not at all what you’d expect from a film like this, and, indeed, many members of the cast were nominated for BAFTA and Hong Kong Film Awards for their work. The standout, easily, is Zhang Ziyi, who steals the Green Destiny, and the whole damn show. She is magnetic on screen. She’s bold and fiery, and yet, vulnerable and sweet. By this point in her career, She’d already made somewhat of a name for herself back in China, but it was her work in Crouching Tiger that catapulted her into the stratosphere of stardom, not just in the East, but in the West as well. For the next five years, she was everywhere, appearing in big films like Hero, Rush Hour 2, Memoirs Of A Geisha, and House Of Flying Daggers. It is extremely rare for an Asian actress to become big in Hollywood, but Zhang Ziyi did, and it’s all thanks to her incredible performance in this movie. The fourth, and biggest, reason why Crouching Tiger Hidden Dragon is awesome is the action.  It is SUPERB. It’s exciting, well-shot, beautifully-choreographed, and inventive. The fight sequences in this movie hold up after 17 years, and for good reason. They’re real. Every single moment was done in camera, by real stuntmen. And you can tell. In the film’s most famous fight scene, where Michelle Yeoh and Zhang Ziyi duke it out in a courtyard, you hear the actresses panting, and see the sweat dripping down their faces. You really believe that this is a hard, brutal fight, and that it’s taking a serious toll on both their bodies. And whenever a film can convince you that a staged action sequence is real, it’s done something right.

Now, as much as I adore Crouching Tiger, Hidden Dragon, and, trust me, I could gush about it for ages, there are some aspects of it that I don’t enjoy as much, all these years later. The biggest, by far, is the flashback sequence, wherein we see Zhang Ziyi’s backstory. Yes, it’s necessary, and it helps you understand her character. But it’s also very long, and very, very slow. It goes on for about 40 minutes, and when you watch it, you just feel like you’re in a different movie. The whole thing really hurts the pace, and I honestly tend to fast-forward through it whenever I re-watch the film. Which brings me to another point, the fact that the movie’s plot is kind of scatter-brained. It starts out as a drama about a warrior trying to abandon his bloody past. Then it becomes a mystery, where they have to find the Green Destiny. Then it turns into a romantic drama, wherein Zhang Ziyi wants to escape her arranged marriage and go live in the desert. And then, in the last 30 minutes, it becomes a kind of road movie, where Zhang Ziyi is just roaming the land, taking what she wants and fighting whomever she pleases. Yes, everyone has an arc, and all the subplots do pay off. But, upon re-watch, it does feel like some of those subplots could have been omitted, and the movie, as a whole, would have become more focused.

But those are really the only negative things I have to say about Crouching Tiger, Hidden Dragon. This is a well-shot, well-acted, emotionally-devastating character piece, with some amazing fight sequences and action. If you somehow haven’t seen this movie after all this time, go out and rent it RIGHT NOW!  You will love it.

Jumanji: Welcome To The Jungle (2017)

Greetings Loved Ones! Liu Is The Name, ANd Views Are My Game.

While stuck in detention, four high schoolers, nerd Spencer, jock Fridge, antisocial Martha, and phone-addicted Bethany, discover a mysterious video game called Jumanji. Figuring, “hey, we’ve got nothing better to do,” the four decide to play the game, and choose avatars. When they do so, however, they find themselves transported to the jungle world of Jumanji, and the bodies of their respective characters. Now, if they want to make it home alive, they’ll have to win the game, and avoid all the danger getting thrown their way.

Jumanji: Welcome To The Jungle is a film I had absolutely no expectations for. I wasn’t even planning on seeing it, until my girlfriend suggested we give it a watch. And I am so happy she did, because this is a really fun movie. Seriously. This is probably the most fun I’ve had in a theater in almost two years. Which is weird, because, 2017 saw the release of a ton of great blockbusters–Logan, Wonder Woman, The Last Jedi, etc. But, the truth is, with each of those films, there was always something that held me back from just having a good time with them. With The Last Jedi, for instance, it was the knowledge that this was a Star Wars movie, and that there’d inevitably be angry fanboy backlash. With Wonder Woman, it was the knowledge that this was a female-led tentpole film with a lot riding on it, so please, please, please let it be good. And so on, and so forth. With Jumanji: Welcome To The Jungle, however, I had no expectations. There was no baggage. As such, I could just sit back and enjoy the ride. And did I ever!

What works in this film is the humor, the chemistry between the leads, some very inventive action set-pieces, and the fact that these are actually very likable characters. Which is surprising. When I hear that the protagonists of a movie are going to be a nerd, a jock, a prissy girl, and a misanthrope, I instantly think, “Oh god, I know exactly how this’ll go down. The’ll be insufferable.” But they really weren’t. Each of them had distinct voices, personalities, interests, and each, in their own way, was very funny. I liked them as teenagers. I liked them as characters in a video game. And the actors playing them were perfectly cast. Jack Black steals the show as Bethany’s avatar in the game. Dwayne Johnson and Kevin Hart are comedy gold when they’re on screen. And Karen Gillan manages to be  fierce, sexy, and adorably awkward all at the same time. I laughed out loud at several points in this movie, and there were moments of action where I was legitimately on the edge of my seat. For this reason, I’d say, give Jumanji a look. It is a fun, fast-paced time at the movies. Is it deep? No. Is it groundbreaking? Not really. But the characters are likable. The action is exciting. The humor hits 90% of the time, and it’s just a great ride to be on.