It started off promising last May with James Gunn’s GUARDIANS OF THE GALAXY VOL. 2, a solid sequel to the big Marvel hit from three summers ago. GOTGV2 had a juicy role for Kurt Russell as the father of Chris Pratt’s character, Peter Quill (or Star Lord, if you prefer), a bunch of amusing action sequences and gags, and a stellar soundtrack going for it, and audiences responded by making it the third top grossing movie of the year. Read my review.
The next few sequels that followed - Ridley Scott’s ALIEN: COVENANT, David Bower’s DIARY OF A WIMPY KID: THE LONG HAUL, and Joachim Rønning and Espen Sandberg’s PIRATES OF THE CARRIBEAN: DEAD MEN TELL NO TALES came and went quickly, with only PIRATES turning a profit despite bad reviews (it’s at 30% on the Rottentomatometer). I only saw PIRATES of these three, and I'm pretty tired of Johnny Depp’s Captain Jack schtick so I didn’t care for it (read my review: PIRATES 5: DEAD MEN TELL NO NEW TALES), but at least I enjoyed the Paul McCartney cameo.
I wanted to see the latest ALIEN sequel on the big screen, but didn’t get around to it. I’ll probably catch it someday on Blu ray or streaming, but I’m not really dying to.
Early June, the summer was shaken up by the major success of Patty Jenkins’ WONDER WOMAN, the first actually good movie of the new DC Extended Universe.
The gorgeous Gal Gadot portrays the iconic superheroine in the WWI era adventure, and with the help of Chris Pine, and a supporting cast including Robin Wright, Danny Huston, and David Thewlis, she lassoed up a satisfying piece of entertainment (read my review). Now, I’m just waiting for Zack Snyder to get the franchise back off track with JUSTICE LEAGUE (also featuring Gadot) this November.
I wanted to see the latest ALIEN sequel on the big screen, but didn’t get around to it. I’ll probably catch it someday on Blu ray or streaming, but I’m not really dying to.
The gorgeous Gal Gadot portrays the iconic superheroine in the WWI era adventure, and with the help of Chris Pine, and a supporting cast including Robin Wright, Danny Huston, and David Thewlis, she lassoed up a satisfying piece of entertainment (read my review). Now, I’m just waiting for Zack Snyder to get the franchise back off track with JUSTICE LEAGUE (also featuring Gadot) this November.
Another superhero favorite, Spider-Man, returned the next month, and restored the character to his former glory after Marc Webb’s forgettable THE AMAZING SPIDER-MAN movies with Andrew Garfield. Featuring a likable kid in the form of Tom Holland, who was introduced in CAPTAIN AMERICA: CIVIL WAR, the extremely fun (and funny) experience of John Watts’ SPIDER-MAN: HOMECOMING was embraced by moviegoers to the tune of over $300 million, and critics to the tune of a 92 percent score on Rotten Tomatoes. Read my review.
Another sequel that did well at the box office was Kyle Balda, Pierre Coffin, and Eric Guillon’s DESPICABLE ME 3 (though not great critically – 61% on Rotten Tomatoes), but not being a fan of the series or the whole Minions thing for that matter, I opted out.
Of the other summer sequels, I took a hard pass on CARS 3 as the CARS series is my least favorite Pixar franchise, but I took in Matt Reeves’ THE WAR FOR THE PLANET OF THE APES, and found it to be a good not great entry in the rebooted series. It contains some powerful visuals, the enjoyable comic relief of Steve Zahn voicing one of the few talking apes who calls himself “Bad Ape,” and Woody Harrelson as the villain, a sinister Colonel who wants to kill off Andy Serkis’ ape leader Caesar and his army, but it’s never been one of my favorite franchises, and I’m not really itching to see more APES movies after it.
As for the fifth TRANSFORMERS movie, which made over $600 million yet is still considered to be an underperformer - I have never seen one of the TRANSFORMERS movies all the way through, and I’m not considering changing that.
One of the worst, if not the worst, movies of the summer was Alex Kurtzman’s THE MUMMY, which was primed to kick off Universal’s Dark Universe series, but its commercial and critical failure (here’s my pan) may cause the powers that be to reconsider things. Tom Cruise is bound to do much better in the Doug Liman’s upcoming AMERICAN MADE, which is getting some early buzz, so don’t worry about him - he’ll be just fine.
As for the fifth TRANSFORMERS movie, which made over $600 million yet is still considered to be an underperformer - I have never seen one of the TRANSFORMERS movies all the way through, and I’m not considering changing that.
One of the worst, if not the worst, movies of the summer was Alex Kurtzman’s THE MUMMY, which was primed to kick off Universal’s Dark Universe series, but its commercial and critical failure (here’s my pan) may cause the powers that be to reconsider things. Tom Cruise is bound to do much better in the Doug Liman’s upcoming AMERICAN MADE, which is getting some early buzz, so don’t worry about him - he’ll be just fine.
The comedy genre fared horribly during the summer months with flops such as Lucia Aniello’s ROUGH NIGHT (saw it - lame waste of a talented cast headed by Scarlett Johansson and Kate McKinnon), Jonathan Levine’s SNATCHED (didn’t see it, but it looked lame - sorry, Amy Schumer and Goldie Hawn), Seth Gordon’s BAYWATCH (another I skipped for what should be an obvious reason), and Andrew Jay Cohen’s THE HOUSE (also didn’t see despite being a fan of both Will Ferrell and Amy Poehler) which was savaged by critics and ignored by audiences.
However, in the world of independent film, there was a comedy this summer, a rom com no less, that did great business, and got critical acclaim to boot: Michael Showalter’s THE BIG SICK. The film, starring Kumail Nanjiani and Zoe Kazan is the story of how Nanjiani met his later wife, and stuck with her while she was in a coma, while dealing with her worried parents played by Ray Romano and Holly Hunter. It’s a real witty charmer that has now played for over eight weeks at the Rialto Theater in Raleigh where I work part time. I haven’t seen a movie connect with audiences at our local indie arthouse like it has in a long time. My review.
A few other indies that didn’t connect as well: Trey Edward Shults’ IT CAME AT NIGHT and David Lowery’s A GHOST STORY. Of these, the former, starring Joel Edgerton as a man whose family is holed up in a house in the country while a plague ravages the land, had its edgy moments but was far from fully fleshed out, while the later, featuring Casey Affleck as a ghost - in a white sheet with eye holes, mind you – was just plain weird as I wrote in my review.
In the non franchise department, there’s Edgar Wright’s BABY DRIVER, a crackling crime thriller, with a great cast including Ansel Elgort, Kevin Spacey, Lily James, Jon Hamm, and Jamie Foxx, and an even better soundtrack. It wowed crowds and critics, including me as I declared in my review that it was the best film of the summer.
A few other indies that didn’t connect as well: Trey Edward Shults’ IT CAME AT NIGHT and David Lowery’s A GHOST STORY. Of these, the former, starring Joel Edgerton as a man whose family is holed up in a house in the country while a plague ravages the land, had its edgy moments but was far from fully fleshed out, while the later, featuring Casey Affleck as a ghost - in a white sheet with eye holes, mind you – was just plain weird as I wrote in my review.
In the non franchise department, there’s Edgar Wright’s BABY DRIVER, a crackling crime thriller, with a great cast including Ansel Elgort, Kevin Spacey, Lily James, Jon Hamm, and Jamie Foxx, and an even better soundtrack. It wowed crowds and critics, including me as I declared in my review that it was the best film of the summer.
Another non sequel that I enjoyed was David Leitch’s ATOMIC BLONDE, starring Charlize Theron as a kick ass MI6 field agent on a mission in West Berlin during the waning days of the cold war. It’s a bit uneven and wonky at times, but has some excellent set pieces including a stunning fight in a stairwell, a sharp lead performance by Theron, and a well chosen ‘80s soundtrack. Hmm, that’s three films this summer with great soundtracks – not bad.
Up there with BABY DRIVER in quality is Christopher Nolan’s DUNKIRK, an immersive war epic that I’m glad I saw in 70 mm. I had a few issues with its structure, which I discussed in my post, Notes on DUNKIRK, but was overall impressed by Nolan’s work, his best since INCEPTION. I bet we’re going to hear a lot more about it come Oscar season.
Lastly, I hate to say I was disappointed in Steven Soderbergh’s late summer entry, LOGAN LUCKY, which many critics have praised.
Up there with BABY DRIVER in quality is Christopher Nolan’s DUNKIRK, an immersive war epic that I’m glad I saw in 70 mm. I had a few issues with its structure, which I discussed in my post, Notes on DUNKIRK, but was overall impressed by Nolan’s work, his best since INCEPTION. I bet we’re going to hear a lot more about it come Oscar season.
Lastly, I hate to say I was disappointed in Steven Soderbergh’s late summer entry, LOGAN LUCKY, which many critics have praised.
I loved its premise – a hillbilly heist centered around robbing the Charlotte Motor Speedway in my homestate of N.C. – and its cast including Channing Tatum, Adam Driver, and especially a bleach blond Daniel Craig – but the job is pulled off with very little conflict, the stakes don’t feel very high as folks can be broken out of and back into jail for the caper with ease, and none of these people are believably related to each other – Driver and Tatum sure don’t look or act like brothers, nor do Craig and the two hayseeds (Brian Gleeson and Jack Quaid) who are supposed to be his kin. Still, there were some amusing moments, and I appreciate the effort by Soderbergh to do a variation on his OCEAN’S ELEVEN movies, even if I’m not a fan of those either.
So that’s the summer of 2017 at the movies. One could argue that a season that boasts the likes of BABY DRIVER, DUNKIRK, GUARDIANS OF THE GALAXY VOL. 2, SPIDER-MAN: HOMECOMING, WONDER WOMAN, and THE BIG SICK can’t be completely written off, but that’s only six films out of over 40, so sadly they weren’t enough to save the summer from sucking. The fall, where historically the films get better, can’t come soon enough.
More later...
