Movie Review: Spider-Man: Homecoming (2017)

by Tony Dayoub



After a number of previous attempts at getting the alchemy right, Sony Pictures finally gets its (500) Days of Spider-Man in Spider-Man: Homecoming. Ironic, because not even (500) Days of Summer director, Marc Webb, ever came close in the two Spider-Man movies he directed, starring Andrew Garfield. This time, the financially shaky Sony had to stow its pride and go running to Marvel, the very company it had scooped up the superhero franchise away from back when the roles were reversed, and ask it for help in developing the property. A wise decision as it turns out, because Marvel knows that what fans have wanted to see the most is its iconic hero interact with the rest of the Marvel Cinematic Universe. I mean, what would DC be like without Superman or Batman, right? Disney without Mickey Mouse? Looney Tunes without Bugs Bunny? Marvel has long been scratching that phantom itch with Spidey, but they've played the long game, first introducing Tom Holland as a high school-age Peter Parker in 2016's Captain America: Civil War. This through Marvel's eminence grise, Robert Downey, Jr. as Tony Stark/Iron Man.

Movie Review: Birdman or (The Unexpected Virtue of Ignorance) (2014)

by Tony Dayoub


Birdman or (The Unexpected Virtue of Ignorance) is a rare and unexpected delight from director Alejandro González Iñárritu, a filmmaker who has made a habit of producing dense, multi-plot storylines that converge in their final moments to offer some Great Truth. Birdman somehow feels both narrower and more transcendent. When the score's percussion takes over, a stifling anxiety sets in. When its symphonic sounds take precedence, Birdman soars. There is no need to clumsily converge at the conclusion because the linkage between Birdman's subplots is already baked into its script, a tale of the backstage chaos that ensues when former blockbuster action star Riggan Thomson (Michael Keaton) mounts a serious comeback in a new venue, Broadway.

Movie Review: Toy Story 3

by Tony Dayoub

This post contains spoilers.

With the release of the near-universally praised Toy Story 3, the latest offering from Pixar, has come the inevitable backlash from dissenters. Ignoring two of the most high profile reviewers, who just seem to be aiming their contrarian rhetoric at those of us misguided enough to provide their sites with more traffic, let me instead zero in on writer (and friend and reader of Cinema Viewfinder) Ryan Kelly's well argued piece at his blog Medfly Quarantine, which honestly seems motivated from a desire to be objective about this box office phenom. You should read it for yourself, of course, but the general gist can be found in the post's second paragraph, which reads:

DVD Review: Sweeney Todd: The Demon Barber of Fleet Street - Depp and Burton's Finest Collaboration Yet

by Tony Dayoub

Johnny Depp stars in his sixth movie for director Tim Burton, as the titular Sweeney Todd: The Demon Barber of Fleet Street. His other films with Burton include Edward Scissorhands, Ed Wood, and Charlie and the Chocolate Factory. When surveying Burton's work it is evident that his collaborations with Depp are often his most artistically successful ventures. Sweeney Todd, a musical, is no different. It is a fine addition to Burton's oeuvre. And there is no doubt that Depp gets the childlike sensibility that his director is seeking.

In Todd , Benjamin Barker, once a promising young barber with a wife and daughter, was sent to prison unjustly by evil Judge Turpin (Alan Rickman). Though he was an innocent, Turpin had designs on stealing Barker's family for his own. Apparently, Barker's wife died while he was away. Now, the insidious Turpin seeks to make Barker's daughter Johanna (Jayne Wisener) his young bride. Returning from prison in the guise of Sweeney Todd, he seeks revenge on Turpin - and London society, for their complicity in sending him to prison. Mrs. Lovett (Helena Bonham Carter), a local pie-maker, conspires with Todd in his quest for revenge, selling pies made out of all the victims of Todd's chair.

Sweeney Todd is a master barber, of course... the better to lure his prey into the chair. Like Todd, Depp's characters in Burton's films are frequently childlike outcasts with some distinctive talent. The eponymous Ed Wood is a second-rate film director that nonetheless has the ability to bring all sorts of freaks and misfits together to turn his vision into a film. Willy Wonka is adept at his work as a chocolatier. Edward Scissorhands can style hair AND shrubbery with ease. It is easy to see why the odd-looking Burton may identify with his protagonists as portrayed by Depp.

Perhaps the most obvious component of Depp's characters that resemble Burton is their appearance. Burton's sullen demeanor, wild hair, pallor, and dark-pitted eyes are depicted in most of Depp's personifications. Sleepy Hollow's Ichabod Crane is pale, while Willy Wonka is so white he's blue. Edward Scissorhands has an exaggerated reimagination of all of the director's physical characteristics. And Sweeney Todd, his shock of gray hair notwithstanding, is an idealized version of Burton himself... gothically handsome, but still wild-haired, pale, and sullen with sunken eyes.

Each of Depp's performances bear a resemblance to Burton in a much more important way than in their physical traits. Each is a stunted man-child delineated much more clearly by Depp than any of Burton's other alter egos. Ewan McGregor in Big Fish is obviously immature, but we don't get the tilted Burton sensibility in his portrayal. His performance has more in common with those of any number of film characters nostalgically reliving their pasts through tall tales like Terry Gilliam's Baron Munchausen. Michael Keaton, who has played Beetlejuice and Batman for Burton, has a darker more cynical take on Burton's protagonists. His performances eliminate Depp's capacity for childlike expressiveness so evident in Depp's eyes. Keaton's Beetlejuice is a hard-living (or unliving, as the case may be) wisecracker. Keaton's Batman is about stoic non-expressiveness. His Bruce Wayne died when he was a child leaving only the vigilante Batman. Even Depp's murderous Todd still uses the bitterness only to mask the wounded child within. We finally get a glimpse of that child at the end of the film, when he realizes the futility of his revenge, and let's his defenses down in defeat.

Sweeney Todd is a high point in Depp and Burton's collaboration. The DVD has a wealth of special features about the film, Stephen Sondheim's stage musical, and even the urban myth from which Todd is historically derived. I highly recommend it.

Still provided courtesy of Paramount Home Entertainment.