Thursday, December 31, 2020

Closing The Curtain on 2020

 

The Prom (2020) 


With Broadway shut down the last few months and Steven Spielberg's West Side Story (2021) still a year away from release (assuming that release date even sticks, who knows these days) the world needed one of Hollywood's most celebrated achievements, the musical. Directed by Ryan Murphy and based on the hit-Broadway play, The Prom has all the critical components for a successful musical film. Led by Meryl Streep, James Corden, Nicole Kidman, Kerry Washington, among many talented others while also introducing fabulous new blood with the likes of Jo Ellen Pellman and Ariana DeBose, the film adaptation of the Broadway show tells the story of a high school girl in Indiana that gains the unlikely help of a group of self-involved and good-PR-seeking celebrities to fulfill her dream of taking her girlfriend to prom despite the objections of the girl's conservative unsuspecting mother. Kerry Washington brings her best Candace Owens impression alongside her otherwise glorified secondary role, though she does display some killer singing pipes in one noteworthy scene. The controversy surrounding Corden's performance is warranted, especially in his character's unnecessary lisp. While he shows moment's of genuine vulnerability, particularly in his scene with Tracey Ullman, in a surprise cameo, his portrayal of Barry can't help but feel more like a schtick than an actual human being. While gay actors can play straight and vice-versa, the benefits sometimes of casting in accordance with sexuality is an inherent understanding in many gay actors of when to reign in the cliche' and embrace the authenticity of subtly instead. Kidman's character is a fun addition, especially considering her most recent television role in The Undoing, but the film truly sidelines her for a majority of the narrative. Meryl is sublime and is able to toe-the-line of campy-pleasure with much more aplomb than Corden. Her vocal execution surpasses even that of both Mamma Mia's, which is no easy feat, but her subplot romance with Keegan-Michael Kay lacks both chemistry and adequate development. Pellman and DeBose are the film's true "Unruly Hearts", and we almost wish at times that the narrative would give them the due justice they deserve, despite the reverence we have for the enjoyable performances of the older supporting cast members. There is something uncomfortably ironic about how a story of conceded cohorts helping out a disenfranchised youth actually disfranchises the youth further by not making her, nor her closeted black queer girlfriend, the center of the narrative. Still, the soundtrack is as high-energy as any setlist comprised by a DJ working a high school prom in the last ten years would be, and gives all cast members a chance to show us what they can do, vocally. The story, though preposterous on many levels, is appropriately optimistic and well-intentioned for the most part. Director Ryan Murphy creates a world of "Hyper-Reality" as seen in his television endeavors of GleeAmerican Horror Story and most recently The Politician (also on Netflix). Those looking for a grounded narrative or complex depiction of celebrity culture and civil rights need look elsewhere, Murphy and co are here for the simple things, love is love, bullying is bad and zazz is the cure to your life's unhappiness. While you can rightfully chastise the creative team for not diving deeper into the material, you can't deny that the way they approach the surface level of things is exhilaratingly romping and heartfelt. We didn't need complexity right now as much as we needed to have a good time and be reminded of the best parts of life that await us at the end of this hellish experience. In that sense, The Prom is an absolute hit. People's qualms about the plot inconsistencies and the questionable performance choices of some of the actors can be discussed and critiqued so long as you don't allow them to completely overshadow what is an essential dose of glamour and joy in these dour days. If this is the worst Murphy can do in a musical adaptation, and we certainly hope it is, then his next endeavor will surely be an even bigger spectacular spectacle. It's not Chicago (2000) or Grease (1978), but The Prom is a life vest for those who needed it and unequivocally declared that "It's Time to Dance" even if the song playing is problematic and overly familiar in certain parts.  


Jingle Jangle: A Christmas Journey (2020) 


While The Prom gives you Broadway nostalgia, Jingle Jangle instead looks forward by taking all the best elements of the Christmas movie genre and revitalizing them freshly and entertainingly. Right off the bat, the fact that it has nothing to do with Santa Claus is a huge success by itself. While old Saint Nick is always a pleasure to see, not all Christmas tales have to be centered around him and his damn reindeer. Jingle Jangle embraces the holiday season by crafting a wholly unique and original narrative that promotes all the important themes we love to see in this winter wonderland brand of cinematic storytelling. It is about love, family and the power of the imagination. The plot about a failing toymaker developing a bond with his estranged and curious granddaughter is unafraid to show emotional maturity while also giving us reasons to laugh with earnest sincerity. It is not completely devoid of tropes, but director/writer, David E. Talbert knows how to use them with careful calculation, making creative decisions that evoke spontaneity without risking narrative derailment. With a phenomenally composed score, the musical has all the high-energy and charm of Benj Pasek and Justin Paul lyrical work on La La Land (2016) and The Greatest Showman (2017) (who's choreographer, Ashley Warren continues his incredible work here as well) without the problematic racial issues associated with each of those other musicals' plots. In fact, the film champions diversity as effortlessly as it eschews Christmas cliches, by normalizing it without drawing false-noted attention. This is a Christmas movie with a predominately black cast, but it is a holiday story for all to enjoy. Those who deserve it most certainly are the black boys and girls who never saw themselves as the center of a holiday tale, but the film is so much more than the race of its cast, it is a testament to ambitious, un-condescending filmmaking. The best Christmas films speak to children and adults alike with wonder and optimism, and this one achieves just that while making it seem appallingly easy. Given the amount of Holiday Stinkers that come out of the film industry each and every year, audiences know quite well that making a Christmas movie (a musical one, nonetheless) that grants us more than just a two-hour escape from online ordering and snow shuffling but an experience that is to be treasured long after the credits roll, is a rare find indeed. I personally look forward to adding Jingle Jangle to my holiday film-watch list next December and for many of the Decembers to come. It is a film that warrants inclusion into tradition by being in many ways untraditional.


Woman Woman 1984 (2020) 


Unlike the two other films listed, Wonder Woman 1984 was meant to be released on the big-screen and technically has been in some parts of the United States and worldwide. For so many, however, the viewing experience for this film will be from their home television-sets. Considering some of the subject matter dealt with in this second installment in the super-heroine's cinematic adventure, that setting is arguably appropriate, even if it isn't as dazzling for the eye-sockets. The film has us checking in on the Amazonian Princess roughly 70 years after her first encounter with mankind during World War II, in which she met, fell in love with, and ultimately lost a courageous and genteel pilot, Steve Trevor. The 1980's in America was a time of rampant consumerism, of instant gratification in the form of products you probably didn't need, but felt like you couldn't live another day without. It was a time of conflicting ideologies, of outward optimism clashing with internal dread which resulted in cultural resets like the death of disco and the ascension of hardcore punk and metal music. These combative tones and moral conundrums are at the heart of this sequel. It is a movie about the consequences to our desires and the importance of trust in ensuring our survival in this ever-changing world around us. It does succeed in the "period film test" as I like to call it, which is the question of whether a film justifies its period setting or not. This one certainly does, with its themes, costumes, set design and overall aesthetic screaming 80's as loud as an invisible jet engine as it soars through the night sky...with fireworks. Yes, that is a scene spoiler, one of the better moments that the film's journey provides for us and Diana, our titular heroine. She is a different woman here, jaded and occasionally cold, less naive and care-free. Much of her light has been dimmed, though not completely extinguished. The sequel ultimately fails at being superior to its predecessor, but then again, so many do, especially in the superhero genre. Unlike the first film, this one lays on its themes too thickly, especially in the dialogue. During the climax, Diana delivers a monologue (which somehow gets broadcasted because apparently the lasso of truth also connects you to satellite television) that spells out everything that esteemed director, Patty Jenkins wants you to take away from the film. Wonder Woman 1984 too often falls into tropes like this that the first film so skillfully avoided. It feels like Jenkins has lost trust in the audience and believes that if they aren't spoon-fed certain messages, that they won't be properly received. While the theme is placed front and center throughout, the plot is sometimes undersold, like the wobbly details of villain Maxwell Lord's devious plans for...I guess world domination? Pedro Pascal does remarkably well with a villain who's backstory isn't even given proper exploration until the climax. Though the Trump comparisons are inevitable, Lord feels like he represents an outdated idea of success, more than a single person. Trump just happens to fall under this category, as well. Kristen Wiig, the performer I was personally most excited to see in this film, is unfortunately similarly underserved by the script despite showing admirable talent in balancing comedic and dramatic tonal shifts throughout her performance. She isn't in the film enough, and her friendship with Diana, a crucial component to both of their character arcs is rushed. Her character's arc also ends in a very muddled way, seeming redemption with no underlining motivation apparent. Still, she manages to infuse enough exuberance into the performance, especially in the latter half of the film, to make her inclusion feel worthwhile in the long run. Her final character design is also an impressive and visually entrancing blend of CGI and prosthetic if only it was on-screen longer for us to be able to admire. The action scenes are brilliantly conceived as before, and the climactic battle especially shows notable improvement from the overt video-game vibes that the final battle in the first film gave. Ultimately, Wonder Woman 1984 is too much like the 80's, it's at constant conflict with itself over what it wants to be and uses too many familiar cliches and tropes to circumvent narrative complexity for plot convenience. The first film was effortlessly charming, timeless and empowering, this one shows shades of those positive qualities but has to work harder to achieve them amongst a cluttered and frenetic story that doesn't feel like it has enough room to breath. This film certainly learned lessons from its first and we hope the same applies to the third installment which should focus more on maintaining originality outside of the formulaic constraints of the superhero genre.



Soul (2020) 


In the year of 2020, we're all getting philosophical as we interpret the continuously bizarro events around us. In a world so constantly-shifting around with racial tensions, global health crises and enough political turmoil to fill a six-season show produced by Shonda Rhimes and Aaron Sorkin put together; it is only natural that film, which is often a reflection of our reality in one way or another, would begin to get philosophical as well. Normally, this would make many people groan in annoyance. Give me simplicity, give me normalcy, give me talking cars for goodness sakes! Though in production since 2016, Soul was the movie that people needed right now, whether they were aware of it or not. While The Prom indulges our need for gluttonous glamor and carefree celebration, Soul indulges deeper emotions and feelings, ones rooted inside ourselves but still ever-present on the surface, particularly over the last few months. A hapless jazz pianist, Joe dies the day he finally gets his big break and stuck in a limbo of sorts, enlists the help of a body-less soul named 22, that wants nothing more than to never go to Earth, the exact place which Joe wishes to return to. What ensues from this conflict-filled dynamic is an adventure that transcends the boundaries of metaphysical and ethereal realms of existence. Before plot can even be touched upon, one cannot stress enough what a magnificent achievement the film's animation and sound design is. From the facial details on each and every character, major or minor, to the chillingly accurate sound of a subway screeching out of one station onto the next, Soul's next level production value elevates its weighty thematic material even higher with its impressive realism and devotion to detail. It is simply gorgeous to watch and prompts us to consider why animation is still not as respected in the industry as it should be. The film does a great job of defying formula with a plot that can hardly be considered predictable to any uncynical viewer. We truly do not know how Joe's journey will end, any more than we know the answer to our own. Soul is the first Disney/Pixar movie that really feels as though it is made more for adults than children. In fact, children play no significant role in its plot whatsoever and a large majority of its dialogue-based humor makes pop culture references that young children would likely have to ask their parents about to grasp fully. This year, adults needed a life lesson, and if they weren't going to listen to reason, the news or science, then film really was the last resort. Soul makes us reexamine where we are all going in life and why in the same year that life has been put on pause for so many of us and has resulted in many of these own personal reflections within ourselves occurring over the last several months. It explores depression and creative blockage in thoughtfully vibrant ways that are neither overtly bleak nor panderingly watered-down, considering it is an animated "children's" film. While so many of us are fueled, sometimes obsessively by our passions, it is not they that inherently define us, but our recognition and enjoyment for them. You can't help but think of all those that have died and continue to die from the virus. What their passions were and how the trip to the ever-after (assuming there is one) might've been like for them. What rumination and musings they had along the way. None of us wants to be Joe or even 22, but the fact of the matter is, most of us are and the film is a clever kick-in-the-butt to get us to face life before it's had its fill of us. To stop letting our passions define us into depression, insecurity and insanity and instead use them to unearth our best selves. By the end of the film, Joe hasn't found that person yet, but that's okay, neither has the audience. It starts conversations that need to be had with ourselves, with children and the ones we love.  Soul tells us to treasure our time in a year that felt mind-numbingly slow and unquestionably arduous because we are always, Pandemic or not, one step away from the Great Beyond.


In Closing


This year has been a century and never before in my life more than now have I been thankful for the escape that film and television provides. In the years coming, we will undoubtedly see this year's events adapted on the stage as well as the big and small screens, many of these stories are already in development. We have been living history while art has and continues to allow us to make sense of the history itself, it's long-term effects on our hearts and minds, as well as our relationships and even bank accounts. I wish every single person reading this peace and prosperity in this New Year more than ever before. 2021 will not be a complete reset but what it can hopefully become is a revival of our spirits and with that hopefully much new, informative, thoughtful and all-around entertaining content across an assortment of entertainment platforms. Keeping escaping to film and television and other forms of entertainment but when you come back to reality, continue to do everything in your power to make today a great day and tomorrow an even better one, not just for you, but for others as well. Happy New Year.