Film Review - “Black Widow”

Black Widow

Directed by Cate Shortland

Starring Scarlett Johansson, Florence Pugh, and David Harbour

To say Scarlett Johansson’s first solo outing as Natasha Romanoff/Black Widow in the Marvel Cinematic Universe (MCU) was long over-due feels like a bad joke now. Frankly, it was overdue long before the COVID-19 pandemic delayed its release for over a year. Ever since the character first appeared in Iron Man 2 fans have wanted her to have her own solo film. When it was finally announced Black Widow was going to be made, it couldn’t help but feel a bit bittersweet.

Learning it was going to be a prequel, and then watching her death in Avengers: Endgame (Still say it should’ve been Hawkeye) made Black Widow feel somewhat like an afterthought, and a squandering of potential. Johansson has always been great as Natasha, and has had plenty of screen time across the MCU. But it feels like so much more could’ve been done with the character, and now we’re just left to wonder “What If?” Pun absolutely intended.

But finally last month Black Widow was released in theaters and on Disney Plus Premier Access (For better or worse). Despite external circumstances, I found it to be a very enjoyable entry in the MCU, however not without its flaws.

Set after the events of Captain America: Civil War, Natasha (Johansson) is on the run form Secretary Ross (William Hurt) and the US military after violating the Sokovia Accords. Life in hiding is peaceful for all of five minutes until her surrogate sister Yelena Bologna (Pugh) sends her a package that puts her in the crosshairs of Taskmaster, a mercenary of the Red Room trained to mimic the fighting styles of The Avengers. 

The package contains an antidote to the mind-controlling agent used on all female operatives in the Black Widow program. Natasha reunites with Yelena, who tells her that the Red Room is still active, and Dreykov (Ray Winstone) the man in charge, is still alive. Natasha and Yelena set out to find the Red Room and stop Dreykov once and for all, while reuniting with their surrogate parents Alexei Shostakov/The Red Guardian (Harbour) and Melina Vostokoff (Rachel Weisz), who also went through the Red Room’s training.

The film does a great job of providing us with the origins of Natasha without making it a straight origin story. The opening sequence, a flashback to the undercover life of “The Widow Family” in Ohio 1995, sets up the rest of the film perfectly. The overall tone and themes of this film make it one of the more intense and darker chapters in the MCU. Viewers can certainly resonate with what the film has to say about the treatment of women and how society values them. This is all fitting for a character with a history like Black Widow’s. Natasha has been a character constantly haunted by her past, and determined to “wipe the red out of her ledger” as she told Tom Hiddelston’s Loki in the original Avengers, and this story is built to service that arc.

Every MCU film feels in some way different than the others, and Black Widow feels like a real espionage adventure. The action scenes in this film are intense, exhilarating, and harken back to those from Captain America: The Winter Solider and Civil War. A few in the film’s third act are some of its best. But the film’s real strengths are the dynamics between its characters. The Widow Family work together really well, and you really believe they are a family. They poke fun at each other, they hate each other, and they love each other. It’s a perfectly written family dynamic, warts and all. This is in no small part due to the performances.

Scarlett Johansson has always been great as Natasha, and in this film we see why we fell in love with the character. The charm, the heart and the wit she has poured into the character for the past decade is all on display here. Unfortunately she sorts of falls into the same situation of the late Chadwick Boseman in Black Panther, where her supporting cast can outshine her. Florence Pugh establishes herself as a new MVP of the MCU. She brings a lot of heart and humor to the table as Yelena, and her chemistry with Johansson is incredible (Really sad it might be the only time we see them together). David Harbour is incredible as the Red Guardian. He was my favorite part of the film, playing this perfect goofy superhero dad with a misplaced ego. Rachel Weisz has a lot of good moments as Melina, but sadly I feel like the script didn’t give her enough opportunity to shine.

OT Fagbenle and William Hurt are fine as Rick Mason and Secretary Ross, but they’re just kind of there to help the plot along, and connect this to Phase Three’s narrative. Ray Winstone as Dreykov is…ok. He’s a talented actor but the script also does him no favors, and he turns out to be one of the weaker villains of the franchise. It’s is unfortunate because the film spends a lot of time building him up as this monster, but it’s a lot of tell and no show. Now is probably a good point to transition into what I thought didn’t work in the film.

I think the best way to sum up Black Widow’s shortcomings is it could’ve been so much more. I don’t necessarily mean “It could take place in present day post-Endgame with Natasha still alive” You can have this film set in the past and it’d still be effective. But the problem of “show, not tell” does not just pertain to Ray Winstone’s Dreykov. There are a lot of conversations between characters about things, really interesting, harrowing things we really should’ve seen as viewers. The pacing of the film sort of suffers as a result of this. I understand the whole film can’t be action sequences, but when this is the long overdue solo story of an OG Avenger, and possibly the last time we'll see her, you kinda want to give us all you got. We understand to a degree what Natasha has been through because we’ve had six films with her already, but that’s not a free pass to skimp on character work in this film.

It’s interesting how Dreykov is the film’s primary antagonist, when all the marketing had propped Taskmaster up in that position. Unfortunately, Taskmaster is probably as equally underdeveloped. Now avoiding spoilers here, but I don’t subscribe to the “#NotMyTaskmaster campaign” circling the internet right now. I enjoyed the portrayal of him in this film, even if it’s not what everyone expected given the character’s history. I thought he worked really well to service Natasha’s story, but we needed more time with the character to understand him better.

Black Widow may fall short of becoming one of the MCU’s greatest, but that doesn’t mean it’s not worth your time. It’s thrilling, emotional, and a good time at the movies, which is what we all need right now, and what we expect from Marvel. Pandemic aside, it is sadly a bit of a victim of circumstance, but within the parameters set for her, director Cate Shortland crafts a entertaining adventure for Natasha Romanoff that beautifully serves this beloved character.

I like many hope this is not the last we see of the Black Widow (although a certain lawsuit might be dwindling those chances as we speak), but I also hope this film stands as a touching tribute to original female Avenger and her importance to this powerhouse franchise…and it still should’ve been Hawkeye.

Film Review - "Jojo Rabbit"

Jojo Rabbit
Directed by Taika Waititi
Starring Roman Griffin Davis, Thomasin McKenzie, Scarlett Johansson, and Taika Waititi

A lot can factor into who a person is or becomes, from who they spend time with, to what they're exposed to by the media. Our environment can shape our identity in extraordinary ways. But environments change, and how we respond to those changes can also shape us.
Jojo Rabbit, the latest film from Taika Waititi, has its main character experience such changes in one of the grimmest environments our world has ever known. This makes for a truly clever, bold and bittersweet film.

The film tells the story of Johannes "Jojo" Beltzer (Davis), a ten-year-old boy living in Nazi-Germany. Jojo is blindly devoted to his country's government, with dreams of becoming a Nazi, and even having a version of Adolf Hitler (Waititi) as an imaginary friend. One day, he discovers Elsa (McKenzie), a Jewish girl being hidden in his home by his mother Rosie (Johnasson). Unable to turn her in, as it would result in trouble for him and his mother, Jojo agrees to let Elsa stay provided he teach her "Jew secrets" for his self-published expose'. Elsa is more than happy to "enlighten" him and they form an unlikely friendship, much to the chagrin of Imaginary Hitler, and Jojo's beliefs are put into question.

This is truly one of the most unique stories put to screen in recent years. Germany during World War II is a setting that's not foreign to filmmaking, but for comedy, outside of the works of Mel Brooks it's really never been done. It's also unique in that hardly ever before, has this period in history been told in film from the perspective of a child. That gives it almost a bizarre innocence to it, while also heightening the tension of the situation. I will say that while this is a comedy, it's no "Springtime for Hitler" romp. There are extended comical sequences but they're seamlessly intertwined with the emotional, dramatic sequences.

That's a credit to writer/director Taika Waititi. One hang-up I initially had with his last film, Thor: Ragnarok, is that too many dramatic moments were immediately undercut by a funny line or gag. That is not the case with Jojo. The comedy is used as counterweight to the drama, and doesn't take away from it. It shows how much Waititi is a master of the craft of tone, and storytelling. Speaking of story, his script offers a lot more than "Nazi's are bad". It's a story about loving one another, what makes a person good or bad, and like I mentioned earlier, how we are effected by the environment were brought up in.

As far as that second point, each of the major players is given proper character development. Jojo learns that Elsa, a Jewish girl, isn't bad as he has been led to believe. We as the audience know Jojo is a Hitler Youth, but we see he is just an innocent little boy, who really doesn't know any better. The Nazi's in the film are portrayed as radical, incompetent buffoons, but some of them may just have hearts (which I'll get to). The world of Jojo Rabbit isn't straight black and white, as far as "The Jews are good and the Nazi's are bad." and that's a bold and human way to approach this story.

These characterizations are brought to life by a truly amazing class. The film is carried by the two stellar young talents, Roman Griffin Davis and Thomasin McKenzie. Davis, in his first film role ever, turns in a wonderful performance as Jojo. The audience can truly sympathize and root for Jojo as he goes through this journey, while also having a few laughs at his expense. It's one of the most charming child performances in recent years. McKenzie is a great foil to him, making Elsa very tough and cynical, while at the same time fragile and sincere. Each of these characters have an edge to them but at the end of the day are just scared kids in a dark period of time.

Scarlett Johansson as Jojo's mother Rosie is absolutely delightful, almost like a beacon of sunshine in this gloomy world. She's warm, charming, and comical, but you also feel her pain as a single mother to a Hitler Youth, while she herself resists the Nazi regime. That's a lot for one supporting performance and Johansson nails it (Oscar nomination, anyone?). Speaking of Oscar nominations, Academy Award Winner Sam Rockwell gives perhaps my favorite performance in the film as Captain Klenzendorf. He's so much more than a moronic caricature of a Nazi officer. There's actually dare I say, heart to him, as we see in his scenes with Davis. I could easily see Rockwell getting another Oscar nomination for this.

Taika Waititi is really something else as Imaginary Hitler. He's hilarious, but also a threat to Jojo's character development. Waititi does a great juggling act of playing this imaginary friend that acts as a young man's way of feeling less alone, and a young man's struggle to follow his heart or his government. Imaginary Hitler is, for lack of better phrase, Jojo's inner demon, and Waititi knows when to play the comical side and the serious side of the character. Archie Yates as Jojo's best friend Yorki is the most wonderful scene stealer. Stephen Merchant has a brief but chilling role as a Gustapo agent. He does get one gag about "Heil Hitler"ing everyone he sees but his performance is 99% tense.

As far as way Jojo is filmed, there's some really great shot composition on display. Many frames of the film look like bizarre pastel World War II paintings from some alternate universe (I say bizarre because there's an imaginary version of Hitler in them), and the over-saturation in some shots gives the film a Wes Anderson vibe. Michael Giacchino scores the film, and he gives us some of his usual fine work. The music he composes for Jojo is both sweet and somber, akin to his work on Up.

I would dare to say Jojo Rabbit is a must-see film. It can put a smile on your face, but also give you a harsh reality check. At a time where so many actions are driven by hate and prejudice, this film (which takes place in a time where actions very driven by hate and prejudice) reminds viewers the power of love and hope. It's a perfect balancing act of comedy and drama, that's wonderfully written and performed from beginning to end. If you haven't seen it yet, get to theater now before Tom Hanks' take on Mr. Rogers, and another character named Elsa swarm the box office…

Film Review- "Sing"

Sing
Directed by Garth Jennings
Starring Matthew McConaughey, Reese Witherspoon, and Scarlett Johansson

Outside of the original Despicable Me, the films of Illumination Entertainment haven't had a lasting impact on me. The second Despicable film was good but never matched the original, and the Minions spinoff bored me. The Lorax got too preachy instead of celebrating its source material, I never saw Hop or The Secret Life of Pets, the former's trailers didn't wow and the latter appears just to be Toy Story with pets. Then Sing came along with its flashy trailers, selling a delightful animated musical like something right out of the nineties. Those trailers were enough to get me into the theaters this past weekend, and did Sing deliver? Well, for the most part.

Koala Buster Moone (McConaughey) has always loved musical theatre since his father took him to his first show as a child. Now the owner of his own theatre, Buster's facing financial woes, with the threat of the bank seizing control of his assets. After a long string of flops, Buster now thinks he's got the show to save his theatre: A singing competition open to the public.

Some of the selected contestants include Johnny (Taron Edgerton), a gorilla reluctant to be a part of his criminal father's gang, Rosita (Witherspoon) a pig who's an overworked stay-at-home mom, and Ash (Johansson) a porcupine reduced to background vocals by her singing partner/lousy boyfriend. They and the other contestants all have something standing in their way of the spotlight, while Buster scrambles to make sure the show is a guaranteed success and his theatre is saved.

First off, if a musical about a bunch of anthromorphic animals trying to make it in show business sounds familiar, it is. Sing shares a lot of similarities to the forgotten gem of 1991, Cats Don't Dance (and if you haven't seen that I recommend it). Hell both the second act of each film bizarrely ends the same way. But without going into spoilers, Sing's storyline is pretty predictable. It's nothing we haven't seen before in movies.

All the contestants' story lines have been done before. Johnny? The one reluctant to follow a dream because of the disapproval of a parent. Rosita? The one letting their domestic life prevent them from following a dream. Meena the elephant (Tori Kelly)? She has to gain some confidence and overcome stage fright for everyone to see her real talent. Honestly how many times in a musical has a significant other squandered the talent of a character like Ash? There's even a subplot for Buster with the old "liar revealed" cliche' where there's a misunderstanding about the amount of prize money, but it goes nowhere and adds nothing to the film's plot.

Devil's advocate here: Just because the script isn't original, doesn't mean it's not written well. All the characters are still likable and you want to see them succeed. Sing is also one of those musicals where all the songs are just covers of already existing songs, with the exception of one original song in the film sung by Johansson's Ash and another in the end credits. The covers are pretty good though, and the songs they choose match the characters pretty well.

Whoever casted this thing must have gone to the Dreamworks Animation/Blue Sky Studios School of Animated Film Casting, meaning even the smallest of parts are voiced by big celebrities. Seriously, you know all the major players from the trailers, but did you know the likes of Nick Offerman, Leslie Jones, and Jennifer Hudson were also in this?? Me neither until the end credits, but I think it's a testament to their performances. I mean it's nice to see Leslie Jones not screaming and doing her usual schtick, or Nick Offerman not delivering his Ron Swanson dry wit once in awhile. But still, if you're going to have these character actors in small incidental roles, why have them at all?

Tori Kelly as is the true powerhouse of pipes in this musical's ensemble as Meena, who's got an incredible voice. Seth MacFarlane as Mike the mouse (Wait a minute. Mike…Mikey…Mick-I swear to God Illumination…) is doing all of his usual, from his Rat Pack (That's not a pun) style of singing to his typical albeit censored humor. Taron Edgerton gives a lot of heart to Johnny, and who knew he could sing so well? Personally he sings my favorite song in the film. Reese Witherspoon fits Rosita well, and we already knew she could sing. Nick Kroll plays her partner Gunter, who isn't as funny as he should have been. McConaughey, ironically the star of the film, doesn't sing, and I really wanted to know what his singing is like. Anyway he gives plenty of emotion and charisma to Buster.

So Sing isn't an original or groundbreaking film, but it's entertaining enough thanks to its likable characters and good music. Sometimes a film doesn't have to be original or groundbreaking, sometimes we just need something to hold us over for two hours. But is Sing your best animated option for that? No probably not, but I don't regret seeing it, and I enjoyed it enough. If time allows it, I might give it an encore performance.