By Robin E. Simmons
THE BIG SHORT
Writer/director Adam McKay tackles a serious and complex subject with an overabundance of often confusing detail. Not just visually, but also in the dense dialogue. This uneven account dramatizing the collapse of the housing credit bubble has no heroes. In fact, the guys we may be inclined to root for are bad guys who have found a mathematical pattern that predicts a coming financial catastrophe that no one else sees and more important, one that they can “bet” on. Yes, simply put, they are betting against America. To detail how this works would take all the pages available in the CVW. Other films have dealt withy this time period and the financial crisis — crazy, over-the-top WOLF OF WALL STREET and the dramatic tragedy 99 HOMES. McKay, who directed and co-wrote the comedies ANCHORMAN, TALLADEGA NIGHTS and STEP BROTHERS might not seem the right guy to write and helm this investigative film that is light on comedy although it is a sometimes scathing indictment of the real-life villains. A great cast does its best to mouth reams of complex brokerese patter. The movie is based on Michael Lewis’ best-seller “The Big Short: Inside the Doomsday Machine.”
Although I had trouble following exactly what was going on with the brokers, it was clear what they were up to. One thing that was missing was how devastating this collapse was to millions of Americans. Too bad the victims were never really a part of the story. The great cast – Brad Pitt, Christian Bale, Ryan Gosling, Steve Carell, Melissa Leo and Marisa Tomei among others — makes up for a lot of the deficits in this over-long, talky film about a huge, massively hurtful criminal event that finally says: Crime pays. Now playing.
STAR WARS VII: THE FORCE AWAKENS
Disney has embargoed all reviews until December 16. When you read this, it’s probably after December 16, but I’m writing it several days prior — so I’m sticking to our agreement. As if anything I say here will in any way help or hinder the massive pop-cultural juggernaut that lands in theaters and on toy shelves this week. Frankly, the endless SW7 hype alienated me months ago. The moment it happened was when I saw a display at a local high-end market of premium liquor bottles with oversize Darth Vader caps. I thought, wouldn’t it be amazing if SW7 was a colossal, deafening, silly bore filled with endless explosions, light saber fights, familiar but elderly iconic faces, weird creatures, sun flares and spaces ships big and small? Did it bother you that early on Disney dismissively tossed the outline George Lucas had for this episode? Ouch! I bet that hurt. But wait; is that a good or bad thing? I know Lucas said he got tired of the personal attacks and criticisms of his episodic space opera. But will long-time devotees and new fans embrace the fact that there’s no Lucas DNA in this seventh iteration? Does it even matter at this point? (Would you see a Hobbit movie that had nothing to do with Tolkien?) But the bigger question is: Why is this movie treated as a major cultural event? Is the story unresolved in some way? No. Is it uniquely meaningful to our times? (Do the good guys take on an ISIS like infection in the SW cosmos?) No. Does it artfully illuminate an important aspect of the human condition? No. What it does accomplish is convince you to pay (ideally, in advance) for a two-and-a-half hour commercial for overpriced toys and action figures. Like it or not, that’s the big theme and raison d’etre of SW7. Little known is that Disney does not even own the rights to the first Star Wars episode (1977’s Chaper IV). Even so, analysts have predicted that “The Force Awakens” movie and merchandise could bring in more than $3.5 billion and that makes the original $4 billion purchase from Lucas a steal. In fact, Lucas was looted.
And, while I’m at it, there’s one more thing that rankles. There’s no longer Jar Jar Binks, or any of his amphibious species, in the SW universe. He’s been callously eliminated as if he never existed! Everyone (?) knows Jar’s a fierce underwater warrior and ally just waiting for his heroic moment. So what that he’s more than a little awkward — okay, annoying — on land. Is Disney saying: If someone’s annoying, treat him or her as if they never existed? (Just try and find a Jar Jar action figure.) Now playing.
NEW FOR THE HOME THEATER:
MISSION IMPOSSIBLE: ROGUE NATION
As I’ve mentioned before on this page, it’s hard for me to enjoy a Tom Cruise movie without thinking about his affiliation with Scientology and, further, that Mr. Cruise has all the screenplays he’s considering vetted by Scientology to assure that there’s nothing in the proposed film that goes against Scientology’s core beliefs.
I’m not sure what’s the message of the latest MI, but I never got fully engaged, emotionally or otherwise, with the plot. The IMF has been disbanded. Ethan Hunt (Cruise) is on his own and out in the cold. And now, the Syndicate — a new global threat – rears its head. Made up of a group of highly skilled operatives, the Syndicate is hell-bent on establishing a new world order via an escalating series of terrorist attacks. Read that last sentence again. Sound familiar? Too bad the filmmakers –including Cruise – didn’t have the guts to go all the way with this timely premise. Hunt gathers his team, joins forces with attractive ex British agent Ilsa Faust (Rebecca Ferguson), who may or may not be a member of the Syndicate, and in a series of inflated, action-filled set pieces saves the day. Short extras showcase the action bits. Paramount. Blu-ray
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