Showing posts with label Phylicia Rashad. Show all posts
Showing posts with label Phylicia Rashad. Show all posts

Friday, January 12, 2024

The Beekeeper: Buzzes with guilty pleasure

The Beekeeper (2024) • View trailer
3.5 stars (out of five). Rated R, for strong violene, pervasive profanity, sexual references and drug use
Available via: Movie theaters

There’s nothing like starting the new year with a vicarious revenge saga, particularly when the villain has been concocted for maximum audience satisfaction.

 

Having located the building that houses the illegal phishing call center that victimized
his friend, Adam (Jason Statham, left) promises to burn it to the ground ... which two
security guards find amusing. Until they don't...


Jason Statham continues to kick ass with pizzazz at age 56, with that grim, go-to scowl that always means somebody’s about to suffer well-deserved damage; The Beekeeper clearly has been fashioned around his crowd-pleasing strengths. Although the third act succumbs to excess that only a superhero could endure and survive, his occasional flinty smile and taciturn one-liners will keep viewers happy.

Director David Ayer is a veteran of action-packed thrillers; he and editor Geoffrey O’Brien move things along at a lively clip.

 

Kurt Wimmer’s screenplay is a long way from Shakespeare, but he sets the stage cleverly, and definitely knows how to punch our buttons.

 

The story opens quietly, shadowing beekeeper Adam Clay (Statham) as he lovingly cares for his hives, carefully scrapes the raw honey from combs, then processes that into jars of sweet syrup. He works and lives in a large barn rented from elderly Eloise Parker (Phylicia Rashad), who greatly admires the way that Adam and his bees have transformed her once-dilapidated gardens into things of beauty.

 

Alas, on this particular day, while Adam works outside, Eloise’s computer is hit with what appears to be a security alert. Understandably concerned — and the always regal Rashad is radiant, even when flustered — she calls the number on the screen. 

 

We see what she doesn’t: The call is routed to a scam center run by slick, slimeball conman Boyd Garnett (David Witts), who overcomes Eloise’s uncertainty — “Yes, you could call your bank first, but you’ll lose all your files” — with the smooth-talking élan of considerable experience.

 

This credibly written sequence could be extracted as an effective public service announcement: People, don’t do this at home!

 

The glee with which Boyd reels her in, to the delight of the equally skeevy dozens fleecing their own victims in the call center, is truly appalling. And, sadly, Eloise succumbs.

 

But she isn’t an average mark; along with several personal accounts, she manages a charity fund of more than $2 million ... all of which vanishes in an electronic heartbeat.

 

Eloise’s next move is tragic.

 

Adam’s subsequent reaction is cold fury.

 

Friday, March 3, 2023

Creed III: Punches at its weight

Creed III (2023) • View trailer
Four stars (out of five). Rated PG-13, for intense sports action, violence and profanity-laced song lyrics
Available via: Movie theaters
By Derrick Bang • Published in The Davis Enterprise, 3.3.23

This spin-off boxing series finally dances on its own two feet, having outgrown its Rocky Balboa roots.

 

Nice to see.

 

The calm before the impending storm: Adonis (Michael B. Jordan) enjoys some quality
time with his wife Bianca (Tessa Thompson) and their daughter Amara
(Mila Davis-Kent)


The script — from Ryan Coogler, Keegan Coogler and Zach Baylin — delivers a satisfying blend of intimate family drama and riveting pugilistic action, along with a mystery that keeps folks guessing for awhile.

Star Michael B. Jordan also makes his directorial debut here. While he deserves credit for mounting a satisfying sports drama, he also has himself frequently framed in tight close-up by cinematographer Kramer Morgenthau (a frequent vanity misstep by actors-turned-first-time-directors).

 

And although this series always has threatened to drown in soggy melodrama, this newest entry again skates close to the edge, but (happily) doesn’t descend into slushy sentimentality.

 

The core plot stands on its own, but viewers unfamiliar with the two earlier films may be puzzled by some of the family dynamics, notably the (apparently) strained relationship between Adonis Creed (Jordan) and his beloved mother, Mary-Anne (Phylicia Rashad). 

 

The film opens on a flashback that expands on our hero’s origin. It’s 2002, and 15-year-old Adonis (Thaddeus J. Mixson) sneaks out of his house late on evening, in order to watch his slightly older best friend, Damian Anderson (Spence Moore II), win a key boxing match. The two bonded during the two years they lived in a juvenile center, when Damian schooled Adonis in the “sweet science.”

 

Following Damian’s victory, while stopping for snacks at a convenience store, — a suddenly enraged Adonis starts beating on an older guy who exits the place. (And we think, what the heck?)

 

Cue two sudden cuts: the first showcasing the adult Adonis winning the bout that makes him World Heavyweight Champion, and then — just as quickly — several years later, to the present day. Adonis has retired and now runs the Delphi Boxing Academy with his former cornerman, Tony “Little Duke” Burton (Wood Harris). Current champ Felix Chavez (Jose Benavidez) is in residence, as Delphi’s star boxer.

 

Adonis shares his lavish Bel Air home with loving wife Bianca (Tessa Thompson), whose previous life as a pop performer has blossomed into an equally successful career as a music producer. They dote on young daughter Amara (Mila Davis-Kent, absolutely adorable), whose deafness hasn’t harmed her spirit.

 

Jordan and Davis-Kent share marvelous chemistry, and this story’s father/daughter sequences are totally charming. Amara worships her father, and wants to learn more about boxing … to Bianca’s dismay. Particularly since the little girl tends to settle school disagreements with a punch.

 

(Davis-Kent actually is deaf, which adds a solid touch of authenticy to her performance.)

Friday, December 11, 2020

Jingle Jangle — A Christmas Journey: Sparkling all the way

Jingle Jangle: A Christmas Journey (2020) • View trailer
3.5 stars. Rated PG, for no particular reason
By Derrick Bang • Published in The Davis Enterprise, 12.18.20

This is an impressive slice of holiday razzle-dazzle.

 

The tag line for writer/director David E. Talbert’s opulent fantasy promises that viewers will “discover a world of wishes and wonder,” and that’s an understatement. This often breathtaking blend of Alice in WonderlandBabes in Toyland and Hugo also seems to be gunning for the seasonal crown long worn by The Wizard of Oz

 

Perky Journey (Madalen Mills), not one to be denied, insists that her grandfather
Jeronicus (Forest Whitaker) take another crack at perfecting his Buddy 3000 robot toy.


Because yes: Just as we’re getting accustomed to the production design and special-effects overload, John Debney’s orchestral underscore shifts into a Broadway-style prelude, and we realize, goodness, these folks are about to break into song.

 

Which they do. In addition to everything else, Jingle Jangle: A Christmas Journey — a Netflix original — is an old-school musical, complete with a few extravagant dance numbers.

 

Actually, Talbert might hit us with too much of a good thing: a notion emphasized midway through this saga, when we’re introduced to an oh-so-cute little robot dubbed Buddy 3000 (and looking like he wandered in from WALL-E’s universe).

 

Events are related in storybook fashion, much the way Peter Falk narrated the action in The Princess Bride to grandson Fred Savage. The raconteur here is Grandmother Journey (Phylicia Rashad), who shares her childhood adventure with a pair of rapt young listeners.

 

First, a prologue, set in 1860 in the quaint Dickensian town of Cobbleton. Jeronicus Jangle (Justin Cornwell) is proprietor and designer of the delights found within Jangles and Things, the town’s famed toy shop. It’s chockablock with colorful, steampunk-inspired gadgets, gizmos, whachamacallits, thingamabobs and doomaflatchies, including a huge pendulum clock and a contraption called the Jangulator.

 

Production designer Gavin Bocquet went absolutely nuts with this eye-popping set, with its checkerboard floors, damask wallpaper and stairwell filigree; it’s impossible to take it all in.

 

Anyway…

 

Jeronicus uses the Jangulator to grant life to a doll-size, Spanish matador puppet dubbed Don Juan Diego (and played, via deliberately jerky motion-control, by Ricky Martin). Ah, but Don Juan is an evil little creature, and he persuades Jeronicus’ assistant, Gustafson (Miles Barrow), to set up a separate shingle and claim this miracle as his own.