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: Avengers: Age of Ultron (2015)

by Tony Dayoub


Avengers: Age of Ultron begins in media res, with the usually fractious superheroes seemingly having evolved into a well-oiled, super-powered machine as demonstrated by a coordinated attack on HYDRA and its new leader Baron Von Strucker (Thomas Kretschmann). Thor (Chris Hemsworth) is beating whole flocks of HYDRA soldiers with one swing of his hammer, Mjolnir. Captain America (Chris Evans) uses his motorcycle the way a gymnast would a balance beam, pushing off into acrobatic flips and bowling his enemies over before meeting the cycle again further down the line. The Hulk (Mark Ruffalo, or a CGI version of him) simply barrels through the bad guys like a runaway train while the Black Widow (Scarlett Johansson) follows close behind, prepared to execute a secret "lullaby" protocol that mysteriously calms the green behemoth in nearly an instant. All of this unfolds while Iron Man (Robert Downey, Jr.) is at his most detached, ordering his new Iron Legion of robots to do most of the dirty work while he flies overhead, trying his best to break through an invisible force field surrounding Strucker's castle.

Movie Review: Iron Man 3 (2013)

by Tony Dayoub

"You know who I am." It's a statement made several different times in Iron Man 3 by both Tony Stark (Robert Downey, Jr.) and his nemesis the Mandarin (Ben Kingsley) that turns out to be more of a question than a declaration: "Do you know who I am?" We find out who the Mandarin is fairly early. Whether you'll be satisfied with the answer largely depends on if you're a comic book fan who holds filmmakers accountable for screwing around with your precious text. The answer to who Stark is takes a good deal longer to arrive at a resolution, relentlessly driving Iron Man 3 to its conclusion rather skillfully thanks to director Shane Black (Kiss Kiss Bang Bang) who consistently subverts the expectations one brings to the otherwise increasingly predictable and generic superhero movie.

Movie Review: The Avengers (2012)

by Tony Dayoub

Captain America. The Incredible Hulk. The Invincible Iron Man. The Mighty Thor. As a kid, I remember watching Jack Kirby and Stan Lee's angst-ridden superheroes, then not much more than a dozen years old, on an umbrella cartoon (because of its limited motion, you couldn't really call it animated) series called The Marvel Super Heroes. Though it was rewarding enough to watch these heroes' early stories play out onscreen, for most viewers, one of the coolest parts of the show was when some other super character would pop in to the storyline unexpectedly, a crossover. Hawkeye, Black Widow, Quicksilver, the Scarlet Witch and many others would rear their head, and one imagined that the Marvel Universe was an expansive setting in which anyone could be the recipient of a metahuman power infusion.

What works on the comic page, or on children's cartoons, doesn't always work on the big screen, however. Marvel has spent a lot of creative and monetary capital on establishing their individual superhero stars as the most special and most powerful characters in their respective franchises. Iron Man 2, the weakest link of the interlocking series of films that preceded Marvel's newest release, fails mostly because its star is eclipsed by what feels like an interminable succession of characters with powers as unique as his (or in the case of War Machine, nearly exactly the same as his). In a world with gadget-laden assassin Black Widow (Scarlett Johansson), the electric-tentacled Whiplash or even the crafty superspy Nick Fury (Samuel L. Jackson), what makes Tony Stark's Iron Man (Robert Downey, Jr.) so special? As anticipation built for The Avengers, a culmination of Marvel's dream to unite its most recent moneymaking franchises, the film critic in me was going in with a skeptical eye.

Movie Review: Iron Man 2

by Tony Dayoub

Fulfilling the commercial objectives set by its preceding film, Iron Man 2 makes good on its aim to spearhead an entire Marvel Universe of film franchises. But at what cost? All of the goodwill engendered by its endearingly brash predecessor completely evaporates before this film reaches its denouement. Iron Man 2 doesn't play within any established dramatic constructs in existence. And it betrays the fine character work of its cast by limiting their appearances in order to tease fanboys with the promise of future entries in the tapestry it is intent on weaving.

Movie Review: Sherlock Holmes (2009)

by Tony Dayoub

Interestingly, last night (24 hours after seeing Avatar) I had a great time watching Guy Ritchie (Snatch) work Sherlock Holmes over with his particular brand of Britstosterone-fueled filmmaking. In what seems to be the emerging pattern among reboots these days, Ritchie drops in on Holmes (Robert Downey) somewhat early in his career, before he has met the shadowy figure in the fringes of the movie who will ultimately become his archenemy. And rather than modify Holmes and sidekick Watson (Jude Law) to fit into his style of protagonists, Ritchie is able to stay somewhat faithful to Arthur Conan Doyle's mythos, peppering the film with details from his novels while melding his sensibility into a London that is possibly one of the most historically accurate to ever serve as a backdrop for a cinematic Holmes adventure.

Yes, it's a grungier Holmes than we're used to seeing, one that could easily fit into the lineup with any of the other underworld characters from Ritchie's filmography yet still true to Doyle's depiction of the character. Downey has just the right flair for theatricality to embody the Holmes we're familiar with. The deductive reasoning, the dry wit, the lightning fast reflexes both mental and otherwise, are faithfully preserved. The one thing Downey brings to the mix which may shock some who only know the character from the movies is a physicality that has often been referred to in the novels. Holmes could have been a prize-fighter according to Doyle's novels, and Downey, looking leaner and sleeker than he ever has before (an allusion to Holmes' unspoken—at least in this movie—drug addiction?) brings the attitude of a bare-knuckle brawler and the grace and agility of a martial artist into the film's multitude of action scenes. This, in fact, is an action movie, but it will probably be one of the smartest and most historically accurate ones you'll see for a long time.

If there are any drawbacks they lie in the predictability of what is basically a traditional detective story/action-adventure tale. There's seldom any question that Holmes will save the day, that our heroes' lives are in danger, or that we won't figure out the villain, Lord Blackwood (Mark Strong), and his agenda. And Rachel McAdams is sorely miscast as the one woman Holmes has ever found formidable. She seems like a young schoolgirl next to these men. But Ritchie makes up for this by pumping some adrenaline into the story—the film moves like a juggernaut, quick, muscular and unstoppable—and giving the movie a real sense of place and time that make every scene worth exploring if only for the simple pleasure of soaking in the ambience. Ritchie also gets points for avoiding the expository origin story that often plagues reboots of this nature. Instead he introduces us to Holmes and Watson—virtual equals in the way their strengths complement each other—in what seems like mid-career.

The most interesting performance is Law's as Holmes' faithful aide, Dr. Watson. Often presented as somewhat of a bumbler in other movies (particularly when played by Nigel Bruce in the forties), Law imbues Watson with dignity and self-respect, reminding you always that this man's intellectual stature must be of some note in order to even keep up with the arrogant genius that is Holmes. Details about Watson usually reserved solely for Doyle's stories come to the forefront in Ritchie's film: his distinguished military service in Afghanistan; his medical acumen; and his self-deprecating habit of acknowledging his limitations in the presence of his intellectually superior friend. There's even a subplot that touches on the closeness of the two men, with Holmes experiencing a bit of jealousy at the thought of Watson's impending marriage to a governess (a wonderful excuse to pass some time with the underrated Kelly Reilly).

Sherlock Holmes is hardly as ambitious as Cameron's Avatar,a film that may overshadow its opening at the box office this weekend. But Holmes succeeds on its own merits in some ways Avatar fails to. It gives us a fresh take on a favorite literary character, which in years to come, may give this film some stronger footing than its box office rival.

Sherlock Holmes opens in theaters on Christmas Day.

Movie Review: Tropic Thunder - Repetitive Jokes Fail to Keep This Spoof Aloft

by Tony Dayoub



Read today's post (and its subsequent comment thread) on Glenn Kenny's movie blog, and you'll get a sense of how the rapidly waning days of the summer movie season can play tricks with a man's mind. It seems like with kids heading back to school, one of the most exciting Olympiads in recent memory, and the intimidating behemoth of The Dark Knight still looming large in multiplexes, studios have designated August as the dumping ground for their weakest films. In the last few weeks we've seen the release of the third Mummy movie (who cares), Pineapple Express (virtually unintelligible and not funny), and now Tropic Thunder, which I was really hoping would lift me out of the funk. But with flicks like this one, it's easy to see why Kenny is so downbeat on the state of cinema today.


The movie follows a film crew shooting a Vietnam war movie. After going over budget, the film's director (Steve Coogan) decides to shoot the film guerrilla-style. Dropping his group of actors in the perilous jungles of Burma, most of them realize the true danger they are in. But Tugg Speedman (Ben Stiller) remains blissfully unaware for much longer, focused instead on reinvigorating his declining career. With Method actor Kirk Lazarus (Robert Downey, Jr.) and drug-addled comic star Jeff Portnoy (Jack Black) only slightly less confused than Speedman, hilarity should ensue. Co-written and directed by Stiller, Thunder spoofs action movies, war movies, Hollywood actors in particular, and the film industry in general.

It's this lack of focus that contributes to the idea that this is essentially an extended one-joke sketch that goes on for far too long. The dialogue is consistently witty. When Speedman tries to convince his fellow actors to go after the "Vietcongs", rapper/actor Alpa Chino (Brandon T. Jackson) replies, "It's Vietcong. The word is already plural. You wouldn't say 'Let's go after the Chineses.'" There are lots of amusing visual jokes also, like the faux trailers that open the movie, where we see Black's Portnoy starring in a Nutty Professor-like comedy where he plays multiple roles, titled The Fatties: Fart 2. There's even surprise cameos by some well-known actors of all stripes, including a substantial supporting role by Tom Cruise, as fat, balding, profane Hollywood producer, Les Grossman, that by turns can be seen as wildly raunchy or distinctly anti-semitic. But it strikes of an attempt to throw everything at the wall to see what sticks. And halfway through the film, when you pat yourself on the back for catching the umpteenth reference to Apocalypse Now, you start realizing how repetitive the movie is becoming.

Concerned about references to the mentally challenged as "retards"? The real butt of the jokes are the dense action stars, like Speedman, whose insensitivity in using the term speaks to a certain lack of awareness. Downey's performance in blackface? Again, the target is not African Americans, but the well-known Method actors who like the character of Lazarus seem to increasingly be Australian. Is Cruise's depiction of Grossman an anti-semitic caricature? Maybe, or maybe it also speaks to a certain lack of awareness by the true-life action star. That would be funny.

But forget about whether you would support a movie that is generating so much controversy right now. Better to take a break, and enjoy the Olympics at home while awaiting the start of the fall season of art movies. The fact is that while Tropic Thunder would be okay for a rental on DVD, it can and should be skipped theatrically.

Movie Review: The Incredible Hulk - How Universal and Marvel Successfuly Course-Corrected the Struggling Franchise

by Tony Dayoub



Place me firmly in the camp of those that think that Ang Lee's Hulk (2003) is almost criminally underrated. Bringing his art house sensibilities to the project, Lee chose to focus on the complex, rage-filled father and son relationship that fueled Bruce Banner's anger management issues.

Giving it an icy counterpoint in the father-daughter relationship between his girlfriend and her dad, the movie dug beyond the superficial gamma radiation explanations of the comic book origin. Instead it showed the underpinnings of Banner's rage to be firmly rooted in real world psychology. And the film managed to tell its tragic story without ever forgetting its graphic heritage, with Lee choosing to frame the images in a dynamic, split-screen effect that replicated the artistic masterworks of a Steranko or an Eisner, masters of the comic book panel layout.

The movie failed to meet expectations at the box-office making only $132.2 million domestically after a rousing opening of $62.1 million in its first weekend. Much of the blame was laid on the feet of Lee, though I feel he was only the scapegoat for Marvel's ambitious plans for the Green Goliath. After all, if there was one franchise where they could afford to be a little riskier, it was this one. The Hulk was a property that was pre-sold even beyond such other Marvel heroes as Spider-Man or the X-Men. Those characters had been successful on the page, yes. But the Hulk had been successful on TV for five seasons in a popular series with a beloved actor, in Bill Bixby, as its lead. Marvel's directive, however, was to ignore the TV show, and be faithful to the comics. Poor Lee was blasted in the fan community for committing what amounted to an act of heresy (by the same fanboys who lash out at film producers for casting a blond instead of a dark-haired 007), for doing what fans generally prefer in these types of movies, sticking to the established comic book continuity.

When the idea to revisit the character was introduced, great pains were taken to assure its success. The fans were assured this would not be an art house retread of their beloved idol, but rather an action-packed take on the monster. The motivations behind the Jekyll and Hyde metamorphosis would be left unexamined, in favor of getting down to the nitty-gritty hulkouts that were being clamored for. I was holding my breath, unhappy that what was essentially being said was that the movie would be dumbed down for its target audience. Was it really necessary? Especially since comic fans long for the day when their favorite medium will earn the respect of others as a viable and thriving mode of delivering artistic masterpieces on the order of Alan Moore's Watchmen or Maus by Art Spiegelman?

The Incredible Hulk opened on June 13th, and guess what? The reviews weren't bad. But they were a bit in the backhanded compliment vein. Glenn Kenny, formerly of Premiere, but now blogging at Some Came Running wrote, "some CGI issues aside, it was a credible (ar ar ar) enough action thriller in the contemporary commercial comic-book-adaptation mode, and that its quality is such that it'll be better received by audiences than its initial and persistent "bad buzz" had indicated." Entertainment Weekly's Owen Gleiberman writes that the audience "may not mind that The Incredible Hulk is just a luridly reductive and violent B movie — one that clears a bar that hadn't been set very high." Not bad, but certainly not great reviews.

Here are some ways Universal and Marvel Studios circumvented the fickle fans, and successfully course-corrected their struggling franchise to the tune of $96 million-plus and counting in only its second week at the box-office.

Hire an action film director. I don't know Louis Leterrier. I have never seen a Louis Leterrier film. But I do know this... Louis Leterrier is an action director. All I have to do is see a trailer for The Transporter or Transporter 2 or Unleashed, and I can tell he knows how to direct action. Now, does he know how to direct a performance?

Recast the entire movie with actors who won't let you down. That's not to say that the first cast would have let anyone down. You had Eric Bana, Jennifer Connelly, Josh Lucas, Nick Nolte, and Sam Elliott as the villain, General Ross... wait a sec, Sam Elliott. I like Sam Elliott, but he's not exactly villainous. And Eric Bana is great but he won't open a movie the way Edward Norton does. Okay, Ed Norton it is. and for the villain? William Hurt. Throw in Tim Roth to support him. And Tim Blake Nelson to set up the inevitable sequel's next villain. Love interest? Liv Tyler's kinda hot, and she can act, too. Oh, and by the way, Norton loves the Hulk, so he can help you rewrite the script. He's a smart guy. He'll make it even better. Louis Leterrier (you must always say his entire name)? You worry about the action... these guys have got the performances covered.

Pay homage to the character that got the butts in the seats in the first place, stupid. That character was TV's Incredible Hulk, David Banner, not comic's Hulk, Bruce Banner. Little touches throughout the movie evoke the nostalgia of watching the well loved series. From an appearance by Bill Bixby on TV (in a rerun of another of his series, The Courtship of Eddie's Father) to original Hulk Lou Ferrigno as a security guard, to a cameo by intrepid reporter Jack McGee (here working for a college newspaper), to a blisteringly quick refresher on the Hulk's origin over the credit sequence (complete with blinking red Danger Light) that paraphrases the show more than the last movie, the film is targeted at the core fans of the show. Even the title pays respect to the series.

Hedge your bets by making this movie a reboot AND a sequel. Sure, it's a new movie... I know you didn't like the first one. Oh, you did? Well, it's a sequel. See how Banner ended up in South America at the end of the first one? He's still down there at the beginning of this one. And see how he became the Hulk while working on secret government projects for his girlfriend's dad at a University lab? He returns to the lab to find his girlfriend in this one... just ignore that this one is called Culver University while the original was Berkeley. That's just to throw off the folks who hated the first flick. Ala the 007 series, the films are loosely related and invoked on an as-needed basis only, in order not to load things down with too much continuity.

Remember, it's a comic book... play by comic book rules. Ah, but you like continuity. Well, this movie is for you. Starting with the opening credits, you see documents that belong to Stark Industries, and the Strategic Homeland Intervention, Enforcement, and Logistics Division or SHIELD, both organizations that appear in Marvel's other 2008 film Iron Man. You have Banner seeking help from an expert in gamma radiation, Dr. Samuel Sterns, fated to become one of Hulk's arch-enemies, the Leader, in the comics and presumably the next film. Ex-girlfriend, Betty Ross's new boyfriend? Well, I believe they cut out the explicit reference to his name, Dr. Leonard Samson. A noted psychologist, he later becomes the green-tressed hero, Doc Samson. And Tim Roth's Emil Blonsky is warned by Sterns that he may become an "abomination" if he chooses to test one of Stern's serums in combination with the Super Soldier serum given him by General Ross. The Abomination is Hulk's greatest comic book opponent.

Get an assist from your bona fide, genuinely more successful superhero younger brother. Want to get fanboys into your less than promising new superhero flick? Bring your star hitter to the party. Iron Man is the first film of 2008 to break the $300 million mark. So when Marvel started promoting that Robert Downey, Jr. would appear at the end of this movie as Iron Man Tony Stark, offering to help General Ross with a team he's putting together, the sound of millions of fans simultaneously reaching orgasm echoed throughout the land. Now that Marvel Studios has most of its characters under one roof, it's far easier to cross-pollinate franchises, like they do in comics. Word is, that Thor and War Machine will be spun off into their own films after appearing in Iron Man 2. They'll all be reunited in The Avengers, the story of that super-team Stark and SHIELD's Nick Fury (Samuel Jackson) are putting together to stop the rampage of... you guessed it, the Hulk. Luckily, since the Hulk is CGI you don't really need Edward Norton to return for that one.

Leak info to the press, no matter how untrue it actually is. Apparently, Edward Norton was going to be conspicuously absent from the promotional tour for the film since he was unhappy with a number of his script ideas being ultimately discarded from the film. Nothing like getting a lot of free promotional mileage out of actor vs. studio controversy. And the press was all over it. But wait, who's on Jimmy Kimmel promoting the Hulk on June 12th with a hilarious film making the YouTube rounds? And what about the widely promoted Captain America cameo rumors that circulated for days on the Internet (reported on Cinema Blend and Sci-Fi Wire) with Louis Leterrier only shooting it down after finding a way to flip it into a promo for the inevitable extended-cut DVD?

And given my appreciation for the Ang Lee version of the Hulk, what did I think of The Incredible Hulk? It wasn't bad, and it's an entertaining start to what appears to be a franchise with the potential to thrive for a long, long time.

This entry first appeared on Blogcritics on 6/23/2008.

Movie Review: Iron Man - Fun Flick Marks Start of Summer Movie Season

by Tony Dayoub


Iron Man, based on the Marvel Comics superhero from the 1960s, opened Friday nationwide. Directed by Jon Favreau, it tells the story of Tony Stark (Robert Downey, Jr.), a less charitable Bill Gates-like (updated from Howard Hughes in the comic) multi-billionaire who makes most of his fortune from the lucrative weapons development division of his company. Injured when he is captured by rogue terrorists, he has a change of heart (literally and figuratively) about his role in the scheme of things, after seeing the terrorists using his weapons to subjugate the innocents of their country, and defeat American soldiers. Forced to make a missile for them in return for his release, he instead makes the first clunky version of the armor that will lead to his new endeavor as Iron Man.

The film is everything a fun summer flick should be. It's topical, updating the comic book origin to take place in Afghanistan rather than Vietnam. It's exciting, particularly whenever Stark takes exhilarating flight as he tests his armor. It has enough humor to let you know it doesn't take itself too seriously. One running gag involves a government agent frustratedly seeking a moment to debrief Stark after his escape from captivity. The gag is amusing on that level, but it's also a nod to the geeks (if they listen to what division he's from, they should get the joke right away). And it has a brilliant cast.

Downey is perfect for the party boy savant Stark, whose lifestyle parallels much of Downey's own brushes with addiction. Gwyneth Paltrow, as his assistant Pepper Potts, is clearly having fun with her role, but is integral to saving the day, a role rarely assigned to females in this genre. Terrence Howard as Rhodey is the everyman that must manage his friend, making sure he doesn't screw up his naive pursuit of justice, but secretly happy that his friend has the guts to go outside of the box in his crusade.

Jeff Bridges is a strong adversary. His Obadiah Stane is the real workhorse who's built Stark Enterprises to what it is today, and won't see it, or himself, flushed down with the refuse because the mercurial Stark has had a sudden notion to save the world. Bridges wisely plays the villain without twirling his mustache too much. Instead, he makes us understand the business obligations that drive Stane to do what he has to do, delineating the contrast between Stane's pragmatic persona with Stark's, until now, more flighty one.

By the way, if you're a fan of the comic books, stay till after the end credits for a special surprise that sets up future adventures. You will not be disappointed. Iron Man is a solid entertaining way to start the summer movie season, and I hope the rest of this season lives up to the benchmark established by this film.