‘Godzilla’ sequel no king among monster movies

Images courtesy Warner Bros. Pictures.

3/10 Godzilla: King of the Monsters tries to be almost everything to almost everyone. Unfortunately, the one thing it isn’t trying to be is a giant monster movie for people who just wanted to watch a giant monster movie.

Godzilla: King of the Monsters focuses on the Russell family, parents Kyle and Emma (Kyle Chandler and Vera Farmiga) and daughter Madison (Millie Bobby Brown). The family was torn apart in 2014’s Godzilla when Madison’s brother was killed during the monsters’ rampage through San Francisco. Now, five years later, Emma Russell has developed a sonic device that can control Godzilla and the other “titans,” but she, Madison, and the device are all kidnapped by eco-terrorist Col. Alan Jonah (Charles Dance). Kyle Russell, who had been helping his wife develop the device but turned to drink after their son’s death, is called in by Monarch, the secret government organization that handles giant monster business, to help track the device down and rescue his family.

Emma Russell awakens several other monsters, including King Ghidorah and Rodan the Fire Demon, and they have fights with Godzilla, but that’s mostly in the background – Warner Bros. knows that nobody came to see monster fights and wanton destruction. The Russell family dynamic is what really matters here.

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‘Booksmart’ a vapid non-film, do not waste your time on it

Watching other people having fun isn’t necessarily fun for you, the viewer. Images courtesy United Artists Releasing.

2/10 At long last, our suffering is over! There’s finally a Superbad for girls!

Because the first one is such a fucking classic!

In Booksmart, a pompous asshole called Molly (Beanie Feldstein) discovers that, after an entire high school career of working hard and never going out, she’s not the only one in her class getting into Yale, because she attends a rich, white Los Angeles high school and obviously everyone around her is also getting into big-name colleges because that’s how life works. Devastated that she wasted her youth pursuing ambitions that her family could have just bought, she and best friend Amy (Kaitlyn Dever) determine to go out to the last party of the year, which turns into an ordeal because no one will give them the address because they’re stuck-up losers.

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‘Brightburn’ soft on satire, complex take on family disfunction

Images courtesy Sony Pictures Releasing.

6/10 Brightburn is a minimalist, almost frustratingly simple film. That’s what might be disappointing about it, and it’s also what might be great about it.

In Brightburn County, Kansas, Tori and Kyle Breyer (Elizabeth Banks and David Denman) struggle to conceive a child. Their prayers are seemingly answered when, one night, a pod from another world rips the sky open in the wooded area behind their farm, and in it, they find a seemingly normal baby boy, whom they raise as their own.

Twelve years later, Brandon (Jackson A. Dunn), who is not aware of his true origins, begins to hear strange sounds coming from the pod that brought him and displays astonishing powers. His parents, who think he’s merely hit puberty, only tell him that what he’s going through is normal. Realizing his power, Brandon takes over the world.

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Reely understanding ‘John Wick’ and parallels with Roman mythology

One of my favorite things about John Wick: Chapter 2, and one of the most illustrative ways in which John Wick: Chapter 3 – Parabellum represents a slight step down, is how well it sews mythology into its narrative. Chapter 2, and by extension the original John Wick, is a hyper-stylized retelling of the Roman and Greek myth of Hercules, with Wick cast as the legendary hero.

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‘Aladdin’ is one of the worst movies I have ever seen

Ahhh! Images courtesy Walt Disney Studios Motion Pictures.

2/10 As Disney plumbs ever deeper into its vault of classic- and renaissance-era features to remake live — or, “live” — it will inevitably begin to withdraw properties that will take more effort to translate into live-action or that make less sense in this peculiar socio-political environment than they did 30 years ago. What is not inevitable, but what has certainly come to pass, is the studio will put less and less effort into these remakes even as they require more over time, opting less for re-imaginings and more for slightly dressier versions of the classic cartoons.

So while this decade started with movies like like Alice in Wonderland, the Tim Burton passion project that unexpectedly grossed $1 billion worldwide and made all of this necessary, Snow White and the Huntsman, which added a melancholy Gothicism to its source material, and Maleficent, which completely re-arranges its story, it is ending with uninspired, bitterly sardonic remakes like Cinderella and Beauty and the Beast.

But Aladdin isn’t sardonic that way, it doesn’t carry that same thinly veiled hatred of its audience and itself. For the most part, it doesn’t carry any emotion at all.

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