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Mariah Robinson and Alan Ritchson, comrades in arms. (Jasper Savage / Amazon)
Reacher is back, and so are my Vulture recaps. Send me your synonyms for enormous; I’ve just about tapped out my thesaurus already.
No cherry blossom trees were harmed in the production of this major motion picture (Disney)
My apologies to Shira Haas and to Tim Blake Nelson, both of whom were cut for space my Washington City Paper review of the extremely busy, half-successful Captain America: Brave New World.
A bear in his natural habitat. (Sony)
My Washington Post review of the jungle-action three-quel Paddington in Peru is here.
Ke Huy Quan and Ariana DeBose play ex-lovers in “Love Hurts,” but their chemistry is not Gram-and-Emmylou grade.
The House that Wick Built is on shaky ground. My Washington Post review of the dismal action comedy Love Hurts is here.
I struggled with Guac, anti-gun-violence activist Manuel Oliver’s tribute to his son Joaquin “Guac” Oliver, who was one of seventeen people murdered in Parkland school shooting on Feb. 14, 2018. My Washington City Paper review is here.
Squirrels and criminals beware. (Dreamworks)
Look, I didn’t hallucinate the ALIENS and Die Hard quotes in Dog Man; they were really there. The only thing that came out of my draft of my Washington Post review was where I pointed out that the bloodless canine-human head-trade in this PG-rated movie reminded me of the cranial swap in the original 1958 version of The Fly.
Julia Garner, Christopher Abbot, and Matilda Firth have a wolf problem. (Blumhouse)
Leigh Wannell’s 2020 Invisible Man was so strong that I had high hopes for his next update of a Universal Monsters classic. But his new Wolf Man is oddly toothless.
Timmy as Bobby. (Fox Searchilight)
I was less than enthused when I read Timothée Chalamet would be playing Bob Dylan in a biopic set during the most widely-covered period of Dylan’s career, circa 1961-5. But I’m glad to say I was wrong! Placed within the Dylan Cinematic Extended Universe, James Mangold’s A Complete Unknown is not as original as Todd Haynes’s I’m Not There or the Coens’ Inside Llewyn Davis, nor is it as informative as No Direction Home, the 2005 Martin Scorsese documentary that covered this same Dylan era — and takes its title from the lyric that immediately precedes “a complete unknown” in “Like a Rolling Stone.” (I actually like the way this suggests Mangold’s dramatization of the same era as a companion piece to Marty’s fact-based account.)
I was glad to sing the praises of the new movie alongside Stephen Thompson and Bedatri D. Choudhury on today’s Pop Culture Happy Hour, wherein I also sneak in my traditional plug for my latest Christmas mixtape.
