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Review: ‘Extraction’

Chris Hemsworth Kills 'em Dead In The Russo Brothers' Explosive, Point-Blank Action Flick

During Netflix’s rapid ascent to the top of Hollywood’s power structure, they’ve managed to corner the market on many different things: teen rom-coms, prestige TV, and more. But one area where they’ve been lagging is in the true blockbuster action franchise.  Extraction, the explosive action flick from Marvel directors the Russo Brothers and their longtime stunt coordinator Sam Hargrave may be what they’re looking for, as it proves to be a straight-forward, if silly role for Chris Hemsworth to chew on and spit out.

To enjoy Extraction and see it as more than just a dumb-headed “merc on a mission” movie, one has to be willing to accept the goofy zen warrior bullcrap of Hemsworth’s troubled ex-soldier, Tyler Rake. No, really. That’s his name. When we’re first introduced to him he’s being shot in the back during a dangerous operation. Some time later, we see him waking up from a drunken stupor, from which he immediately walks over to a high ledge and dives from the top of a waterfall. Why? So he can meditate at the bottom of the lake, cross-legged like a victorious Dhalsim or the Mahatma. You expect Keanu Reeves to do some shit like that, but Hemsworth?

From that moment on it’s pretty clear that Extraction, for all of its bullets and blood and death, of which there is quite a lot, is going at this with tongue firmly in cheek. That said, the generic nature of the plot and grim screenplay hamper efforts for it to be more fun than it is. Rake is hired by a former flame (the excellent and underrated Golshifteh Farahani) to rescue Ovi (Rudhraksh Jaiswal), the kidnapped son of an imprisoned drug lord in Bangladesh. The op is complicated by Saju (Bollywood actor Randeep Hooda), an ex-special forces guy who seeks to make the rescue himself to impress the boss. Oh yeah, and the streets of Dhaka are teeming with armed goons itching to put a bullet in the good-looking American dude who looks like that guy from those Avengers movies.

Hargrave makes his directorial debut here, and it’s clear where his influences come from. He’s straight from the Russo Brothers/Gareth Evans school of barely-controlled chaos, which makes for some wildly thrilling and gory sequences. Blunt edges and sharp objects find plenty of flesh to rip into, with our hero at the business end of some of it himself. Tyler’s rescue of Ovi comes after the merc has littered the streets with freshly-minted corpses, before bursting into the enemy hideout for some brutal fisticuffs.

While the stuntwork and fight choreography are incredible, the script is bare-bones and pretty dumb, while some of the acting leaves much to be desired. Hemsworth is…well, he’s fine. Obviously, he can more than handle the role’s physicality, bringing a tough-guy machismo like genre stars from the ’80s used to. Thankfully, Hemsworth isn’t asked to say too much,  because when he does, like during a somber, melodramatic breakdown between Tyler and Ovi, it’s laughably insincere. I also don’t know why Stranger Things and Black Widow actor David Harbour was here. His role, small as it was, could’ve been done by anybody and it seemed like Harbour knew it, too.

Extraction has mid-budget franchise written all over it, though. I could’ve easily seen this performing well in theaters, and that’s exactly the kind of movie Netflix needs more of. Hemsworth has a spotty track record outside of Marvel (although Blackhat and Bad Times At the El Royale are pretty great), but he may have found himself another role to sink into for the long haul.

‘Into The Dark: Delivered’ Trailer: ‘The Wind’ Director Returns With A Terrifying Mother’s Day Horror

The latest entry in Blumhouse’s holiday-themed Into the Dark anthology series features up ‘n coming horror director Emma Tammi. In 2018 she made a splash with the festival crowd for her chilling western-horror The Wind, and Hollywood took notice. Now with her feature-length entry Delivered she’s looking to do the same once more, only this time on Hulu.

Into the Dark: Delivered stars Veronica Mars‘ Tina Majorino, plus Natalie Paul, Michael Cassidy, and Micah Parker. Tammi makes her sophomore effort behind the camera, working from a script by Dirk Blackman that centers on a pregnant woman who befriends a single mother. This being a Blumhouse joint, you can guess that somebody’s got sinister motives.

SYNOPSIS: In partnership with Blumhouse Television, Into The Dark is a monthly horror event series from prolific, award-winning producer, Jason Blum’s independent TV studio. Each feature-length installment is inspired by a holiday and features Blumhouse’s signature genre/thriller spin on the story. In Delivered, a pregnant woman’s life is upended when she realizes someone close to her has darker plans for her and the baby.

Into the Dark: Delivered hits Hulu on May 8th.

‘Russian Doll’ Creator Developing Female-Centric ‘Star Wars’ Series For Disney+

With Star Wars feature films dividing audiences more than ever, the future of the franchise is definitely in streaming. A third season of The Mandalorian is already on the way, plus shows featuring Obi-Wan Kenobi and Cassian Andor. And now you can add a brand new one that’ll have a definite female spin.

Variety reports Leslye Headland has been hired to write and act as showrunner for a live-action Star Wars series for Disney+, and it will be female-centric in a different part of the timeline than we’ve previously seen. Headland is the creator of the hit Netflix series Russian Doll. Before that she directed a pair of big screen comedies, Bachelorette and Sleeping with Other People.

The question is if this is possible Ahsoka Tano series, with so much emphasis being placed on the popular former Jedi lately?  Rosario Dawson is in talks to play her in The Mandalorian‘s upcoming season, and she was featured in the recent revival of The Clone Wars. She was even heard, briefly, at the end of The Rise of Skywalker. Then again, we’ve seen Ahsoka Tano’s timeline many times, so it’s probably not her unless it’s far off into the future.

Until Lucasfilm decides to lift the curtain, let’s all feel free to speculate.

Theater Owners Say Many Cinemas Unprepared To Open Despite Governments’ Lifting Of Restrictions

Cinemas are due to begin reopening in some states over the next few days, as government officials make plans to live restrictions caused by COVID-19. While some early analysis shows it’ll be a long time before people are ready to flock to their local theater, those theater owners are saying they’re unlikely to be ready for them, anyway.

The National Association of Theater Owners (NATO) issued a statement (via Deadline) saying many cinemas aren’t prepared to open their doors…

“While some states and localities are beginning to authorize the opening of movie theaters under certain conditions, the movie theater industry is also a national one. Until the majority of markets in the U.S. are open, and major markets in particular, new wide release movies are unlikely to be available. As a result, some theaters in some areas that are authorized to open may be able economically to reopen with repertory product; however, many theaters will not be able to feasibly open.”

We posted about this exact situation yesterday. Any plan to have movie theaters reopen will be meaningless if Los Angeles and New York, the two biggest markets, aren’t fully involved. Neither city is looking to lift restrictions right now, and likely won’t for a couple of months at the earliest.

The same goes for the major theater chains; AMC, Regal, and Cinemark. None of them are looking to reopen before June 1st, and when they do the roster of films they’ll have to choose from will be severely limited.  Other social distancing guidelines may still be in place which limits theater capacity.

This is an issue that these state governments simply haven’t thought through, and it applies to more than just cinemas. Just because they say businesses can open, doesn’t mean they should open. It doesn’t mean there will be customers. And a reopened business will no longer be able to lean on the government for support as they can now due to the shutdown. It all sounds like a recipe for failure, and NATO seems to recognize that, too.

Review: ‘Robert The Bruce’

Angus Macfadyen Returns To Save Scotland In A Historical Drama Free Of The 'Braveheart' Bloodlust

The myth and the reality of the legendary king of scots clash in the striking and intimate Robert the Bruce.  Those who partake of the historical drama will undoubtedly be drawn by the return of Angus Macfadyen to the role he played 25 years ago in Mel Gibson’s Braveheart, but this unexpected little film, which completes a weird pseudo trilogy with 2018’s Outlaw King, is less concerned with the glorification of gory violence than the true cost of war. A small-scale and personal film, it’s a bit slow to get moving but has some surprisingly emotional beats to make up for the lack of action.

Macfadyen, who also co-wrote the script, clearly has a genuine affection for the role. That he’s been gone so long adds to the authenticity of his performance. His Robert the Bruce is battered, beaten down by life and battle. But in the beginning, Robert the Bruce teases rousing battles and fairy tale theatrics. The year is 1306 and Robert clashes swords with rival John Comyn (Jarrid Harris, in a glorified cameo) for the Scottish thrown. Steel clangs against steel, blood is drawn inside the Greyfriars church and outside. The bold, towering Robert we see here isn’t the truth. He is just part of the bedtime story being told by Morag (Anna Hutchison) to her young children. Her young son Scot (Gabriel Bateman) worships Robert and longs to fight for Scottish freedom, just as his father did.

The reality is that Robert the Bruce is nobody’s champion at this point. In the year 1312, when the story actually takes place, he’s defeated and through with fighting. He’s still racked with regret at not being as beloved as the martyr William Wallace. Having given up and dismissed his men, Robert finds himself on the run from his former brothers-in-arms looking to collect the bounty on his head. Injured, Robert stumbles into the home of Morag, whose nefarious stepbrother Brandubh (Zach McGowan) wants revenge on the Scottish king. He also wants to claim Morag for himself, and force the eldest child son to join his army.

Macfadyen’s simple approach is interesting, choosing to put Robert the Bruce into the background for much of the story. Robert has very little dialogue, much of it laments about his past failures, and later, patriotic speechifying about Scotland’s independence. It makes for a very slow burn as we focus so much time on Morag and her family, their various tragedies, and shifting views on Robert the Bruce. By the time Robert starts endangering their lives directly by his meer presence, some may have already checked out.

That would be a shame because the film really picks up once the various plots converge, and the family must choose to either side with Robert or Brandubh. Will they remain loyal to the king? Or loyal to their own blood? Meanwhile, Robert, who spends much of the film either unconscious or silently sullen, must decide if he’s still got the will of the fight.

Richard Gray doesn’t have the budget to match the scale of Mel Gibson or David Mackenzie’s historical epics. The snow-covered hills of Montana don’t make the most authentic version of Scotland’s frigid winters. What he does have in his favor is Macfadyen, who has clearly thought a lot about Robert over the years. He’s delivered a more complicated, sobering portrayal that makes this fictional detour in the life of Robert the Bruce worth seeking out.

 

 

 

 

 

‘Westworld’ Gets Early Season 4 Renewal By HBO

Westworld is still in the middle of its third season, but HBO doesn’t want to wait around for it finishes before looking ahead. The network has announced an early renewal for season 4, with creators Jonathan Nolan and Lisa Joy returning as showrunners.

This third season has served as a makeshift reboot, with the series leaving the amusement park and into the world. New characters, such as Aaron Paul’s Caleb, were introduced to help attract viewers who may have left the show after season 2. At this point, the ratings haven’t shown any improvement.

“From the western theme park to the technocratic metropolis of the near future, we’ve thoroughly enjoyed every twist and turn from the minds of master storytellers Jonathan Nolan and Lisa Joy,” said President of HBO Programming, Casey Bloys. “We can’t wait to see where their inspired vision takes us next.”

I gave up on Westworld after season 2, and nothing I’ve heard about season 3 has interested me in the least. After watching Nolan and Joy speak at Comic-Con I got the distinct feeling they had no idea what they were doing and were just winging it. They also seemed ready to wrap the show up, which has me surprised they signed on for another year. Then again, HBO needs to hang on to one of their most talked-about shows for as long as possible, quality be damned.

Jon Favreau Already Working On ‘The Mandalorian’ Season 3

Disney knows what they have in The Mandalorian. Not only is it the biggest subscriber draw for Disney+, but the first live-action Star Wars created a phenomenon with Baby Yoda. Season 2 is already coming our way, but come on, does anybody think that’s going to be the end? Get ready for season 3.

According to Variety‘s contact with “sources close to the production”, creator Jon Favreau is already hard at work writing The Mandalorian season 3. He’s been at it “for a while”, which means there likely won’t be a long wait between seasons. The production folks have more lead time to get the design work down on multiple episodes.

Season 2 of The Mandalorian isn’t expected to arrive until this fall, assuming there are no delays. So it’s way too early to guess what will be in store. Will Rosario Dawson’s Ahsoka Tano be a central figure? What’s up with Baby Yoda? Is he teething yet? Can he lift an X-Wing out of a swamp?

Another thing to consider is that other Star Wars shows will be in the mix. Shows featuring Cassian Andor and Obi-Wan Kenobi are in production and Disney will want to give each plenty of space from one another.

‘Venom 2’ Teaser Confirms That Ridiculous New Title Is Here To stay

Venom: Let There Be Carnage.  Yesterday, we learned Sony’s sequel to 2018’s Venom was gifted that ridiculous title. It almost reads like a working title, or a joke that they’ll change sometime down the line. But Sony wants you to know, nah, that shit is real. And here’s a teaser to prove it.

So yeah, it’s a real thing. I would’ve preferred that “V” be replaced by a motion poster of Woody Harrelson’s terrible Cletus Kasady wig, but we just can’t have everything, can we?

Venom: Let There Be Carnage will be directed by Andy Serkis, and opens June 25th 2021, where The Batman used to be.

Netflix Picks Up ‘Enola Holmes’ Film With Millie Bobby Brown As Sherlock Holmes’ Kid Sister

A busy week of acquisitions continues for Netflix. The latest high-profile purchase is potential franchise Enola Holmes, which stars Millie Bobby Brown as the brilliant kid sister of legendary sleuth, Sherlock Holmes. The film was originally set up at Legendary, who had plans for a theatrical release later this year. Now it will go straight to streaming, like so many family-friendly projects are right now, such as Trolls World Tour and Artemis Fowl.

Enola Holmes is based on the popular book series by Nancy Springer, and has Harry Bradbeer (Fleabag) on board to direct. The cast includes Henry Cavill as Sherlock Holmes, Helena Bonham Carter as Enola’s missing mother, and Sam Claflin as Mycroft Holmes. The script is by Jack Thorne (His Dark Materials), and the plan is to turn this into a long-running franchise.

It’s a perfect confluence of events. With theaters shut down, studios are looking for ways to get a return on investment, so they’re willing to sell-off properties that are a little bit on the bubble. Netflix is more starved for content than ever and looking to spend, as they did just days ago for the Melissa McCarthy/Paul Feig drama The Starling. That Enola Holmes stars Millie Bobby Brown, already a popular Netflix star thanks to Stranger Things, is just icing on the cake.

Production wrapped late last year so don’t be surprised to get a trailer and official release date very soon.

Review: ‘The Willoughbys’

Kids Endanger Their Parents In Netflix's Frantic And Slapsticky Animated Adventure-Comedy

“If you’re interested in stories with happy endings, you’re better off reading some other book. In this book, there are no happy endings”, warns a narrator cat (voiced by Ricky Gervais) at the beginning of The Willoughbys. It’s an odd way to start a movie geared towards kids who expect to, y’know, like the characters they’re watching. But it may also be a warning to others to stay away from the genuinely unlikable movie as a whole, which is overstuffed with unfunny hijinks and visuals that are bright but ultimately lacking in personality.

The Willoughbys doesn’t make a whole lot of sense, which would be fine if the offbeat, strangely dark premise had characters we were made to care about. The story follows a group of siblings, led by the eldest brother Tim (Will Forte), who comes from a long line of heroic Willoughby ancestors, each sporting epic beards to match their greatness. That tradition ends with the kids’ selfish, facial hair-deprived parents (Martin Short and Jane Krakowski), who let the children starve and keep them locked away. So the siblings, which include the creative, sing-songy sister Jane (Alessia Cara), and the mischievous Barnaby twins (Sean Cullen), concoct a plan to send the parents on a vacation to every dangerous place they can think. The hope? That they’ll fall into a volcano, eaten by sharks, devoured by cannibals, you name it. The parentals are morons and walk into the trap at the very idea of a trip where no kids are allowed to join.

So yeah, The Willoughbys is about kids who want their parents killed so they can become orphans. Try as director Kris Pearn (Cloudy with a Chance of Meatballs 2) might, there’s no escaping such a grim setup.  The visuals are brightly colored but flat, the only exception the terrific job they did on the kids’ red licorice hair.  A trip to the bizarre candy-coated home of the Willy Wonka-esque Commander Melanoff (Terry Crews) makes no sense, and the character’s continued presence and connection to a spirited Nanny (Maya Rudolph) feel like it came from an entirely different movie.

While this may have been based on Lois Lowry’s popular book, The Willoughbys does little to endear audiences to the siblings’ plight. Tim, for all of his need to be the man of the house, is wormy and a bore. The twins are blandly weird, more like Minions than actual people. There’s some sympathy to be had for Jane, who has the clearest idea of what a normal, loving, and supportive family should be. Sight gags are crammed in a mile-a-minute, at the expense of making the Willoughby kids worth cheering on. I mean, should we even cheer on this macabre plan of theirs, anyway?

Together, the kids learn to build themselves a new, if utterly peculiar family and reject their parents’ cruelty. That’s a fine message which would’ve worked if The Willoughbys gave us any reason to listen to it.