Showing posts with label Naomi Scott. Show all posts
Showing posts with label Naomi Scott. Show all posts

Friday, November 15, 2019

Charlie's Angels: Clip their wings. Please.

Charlie's Angels (2019) • View trailer 
2.5 stars. Rated PG-13, for violence, profanity and suggestive content

By Derrick Bang

Director/co-scripter Elizabeth Banks deserves congratulations, of a sort: She has appropriately honored this franchise.

Which is to say, this film is every bit as dumb, dull and contrived as the late 1970s TV series on which it’s based.

Having tracked the bad guys to an industrial rock quarry, the resourceful Angel
operatives ‚ from left, Jane (Ella Balinska), Sabina (Kristen Stewart) and Elena (Naomi
Scott) — ponder their next move.
Oh, sure; the insufferable sexism has been upgraded (somewhat) to bad-ass gal power, but that’s not much of an improvement … particularly since this updated Charlie’s Angels still finds ample opportunity to pour its three stars into skin-tight outfits. (A third-act dance sequence is particularly eye-rolling.) Costume designer Kym Barrett certainly is kept busy, particularly with glitzy tube dresses.

Mostly, though, Banks has simply proven that she can deliver an action thriller every bit as mindless as those featuring male stars in equally ludicrous predicaments. Although her story — co-written with Evan Spiliotopoulos and David Auburn — ostensibly is fueled by the desperate effort to Keep A Nasty Device Out Of The Wrong Hands, it’s little more than an excuse for an increasingly tiresome series of chases, melees, absurdly drawn-out smackdowns and the usual physics-defying stunt work.

Most of the performances rarely rise above the smug and smirk that too frequently passes for “acting” in live-action comic books of this sort, and occasional efforts at more serious emoting — as when we lose a good guy, early on — are wincingly awful. The one exception is Kristen Stewart, whose sass and snark are a breath of fresh air. I can’t say she carries the film — that would be impossible — but she certainly makes it more bearable.

Having moved further into the 21st century, the Townsend Agency has expanded from its Southern California roots, with clandestine pockets of high-tech Angels now operating world-wide. A prologue escapade introduces the resourceful and athletic talents of Sabina (Stewart) and Jane (Ella Balinska), as they take down wealthy international criminal Johnny Smith (Chris Pang, suitably smarmy).

Meanwhile, back at the Townsend Agency, veteran Bosley (Patrick Stewart) is feted with a retirement party, having been instrumental in taking the Angels global during the past decades. He’s congratulated by his replacement Bosley (Banks) — the name being more of a company rank, like lieutenant — with other Bosleys wishing him well via international video links.

Friday, May 24, 2019

Aladdin: Lost its luster

Aladdin (2019) • View trailer 
Three stars. Rated PG, for no particular reason

By Derrick Bang • Originally published in The Davis Enterprise, 5.24.19


Too many Hollywood types ignore the universal maxim:

If it ain’t broke, don’t fix it.

When arrogant soldiers thunder through the marketplace on horseback, Aladdin
(Mena Massoud) acts quickly enough to prevent two children from being trampled
beneath the hooves.
1992’s Aladdin was just right as a 90-minute animated fantasy. This “enhanced” live-action remake, at 128 minutes, is a textbook case of bloated overkill.

Disney obviously didn’t learn from the identical mistake made with 2017’s live-action Beauty and the Beast, similarly overblown at 129 minutes (as opposed to the 1991 animated version’s 84 minutes). More is not better, most particularly when the original’s sublime musical component gets saddled with new songs that aren’t merely inferior, but are noticeably out of synch with the rest.

Scripter/director Guy Ritchie — who shares writing chores with John August — has completely altered this fable’s heart and moral. Instead of a cautionary tale on the importance of recognizing that grandiose wishes are a hollow illusion, this Aladdin has been transformed, and quite clumsily, into a female empowerment saga.

This new subtext doesn’t integrate well with the existing storyline; indeed, it’s clearly a contrived sop to the #MeToo movement, complete with a (new) power ballad that Princess Jasmine (Naomi Scott) belts out at a climactic moment. But here’s the irony: Immediately after she sings that song, Aladdin is the one who saves the day.

And why shouldn’t he? Disney animated films are laden with powerful female characters: Ariel, Belle, Pocahontas, Mulan, Merida, Tiana, Rapunzel, Lilo, Moana and — needless to say — Anna and Elsa. Is there anything wrong with leaving Aladdin guy story?

It’s also blatantly obvious that Jasmine’s aforementioned mantra — “Speechless” — was crafted to sound as much as possible like “Let It Go,” the Academy Award-winning anthem from Frozen. That “coincidence” aside, this new tune doesn’t belong with the others.

The original film’s Alan Menken/Howard Ashman/Tim Rice songs boast the witty lyrics and clever melodic counterpoint of masterful musical theater numbers. And while Menken still wrote the music for “Speechless,” the lyrics — by Benj Pasek and Justin Paul — are unimaginative and redundant. It’s not a song; it’s a diatribe.

Sigh.