Terminator: Dark Fate (2019)

Sometimes Malaysia is lucky not only because we have the controversial Durian, the incontrovertibly delicious Nasi Lemak, the controversial former Prime Minister, and the recalcitrant … oops… indestructible current PM… (are these lucks? For Whom?), and for selected film buffs like me, we get to see some films first before other countries.

This is the case of Terminator: Dark Fate, the highly non-anticipated “oh no, not another one” sequel, which arrived here ahead of US and some European countries. I caught it. And as expected, it has its highs and lows.

I have not seen the Christian Bale flick and the Genesis one…and I believe they are not mentioned or referred to at all here. This one is a direct sequel to the first sequel (second Terminator, if you are confused…it happens in these days and age of prequel, side-quel, reboot, reimagining, alternate university…you guys okay? Sure?).

What I loved the most was that it gave Arnold very little to do. A bit of de-ageing technology, which is all the rage now in Hollywood that is going to split the actors union to the fresh and de-ageable fractions for sure, we see Arnie in the flashback, and later, after half of the films running hour. And interestingly, his appearance helped to loosen the coiled tension that was the first three-quarters of the flick.

But what will set this film apart from the other Terminator flicks, is that this is essentially an action chick-flick. We get three gals, from three different age group and three different timelines, mind you, battling some black gooey thingy standard programmed Terminator. They sure kick buts, guys. Guys?

The girls had good chemistry, and physics too. Hamilton, especially looks incredibly buff and looks good with wrinkles…sort of like babe version of Sean Connery. I was not much of her fan during the big hair era, whether she is battling a cyborg or loving a lion-man(e) hybrid, but here I am terribly impressed. I must apologise to my mother who is a huge fan of Beauty and The Beast TV series.

At 63, Hamilton held herself well, blasting away the creepy cyborg, lashing out with one-liners, some very hilarious (she gets to say “I’ll be back” this time). Hamilton literally puts all the other action gals to shame with her gusto performance, chewing sceneries, stealing them even from the former governor, leading the younger girls to kick metal and fleshy asses.

And we are shown the vulnerable side of her too, much less we forget where she started from, a low paid waiter in the first film and something sad inevitably happens in the said flashback sense that crushes her. I am very happy that they decided to bring her back because this really gave a breath of fresh (?) air to the franchise that’s descending into B-grade-dom.

I am afraid, that is the only good thing I have to say about this film. Most action scenes are generic, the sci-fi stuff is nothing new. Hardly something that we get excited about. But then, since when has science fiction has ceased to be exciting after the advent of computer graphics imagery, no?

I also confess that I half-slept during the crucial action scene towards the climax. No, seriously. They did not register at all…and its not even because I lacked sleep. I slept well. It is just the scene lacked any urgency…we know what is going to happen, as opposed to the scenes in the beginning when it was just the vulnerable gals (before Sarah turned up) trying to continue breathing.

I think this is the best sequel since Judgement Day. I am not sure if there are more, but if Hamilton is in it, I will definitely watch it. You betcha.

Asuran (2019)

My experience with Adukalam was not too fulfilling. It had interesting story, but the very fake looking CGI roosters put me off. A hardworking filmmaker would get real roosters, train them up or something and get them to fight. If any animal rights activists protest, direct them to slaughterhouses. The CGI in it was lazy work…and it soured my viewing experience.

Coming to this film, I didn’t put in much expectation as for the limited experience I had with Vetrimaran/Dhanush collaborations. And boy was I in a treat…as in a critic who gets to sharpen his implements.

Not that I am going to attack this film mercilessly. I must give due credit to Dhanush the actor who has been brilliantly ascending in his performance scale. Not really up there yet, some amateurish elements do rear their ugly heads, but, then again, he is at the mercy of the script and he struggles to maintain consistency.

Which brings us to the script itself. Are there subtexts to be understood in this film from an accolade garnering team of filmmakers and actor, well perhaps…but it did not penetrate the semi-literate brain of mine.

What I saw was some barebone story heavily peppered with violence and verbal smackdowns that are, well, to borrow the now forgotten cliché, damp squibs. The onscreen performers are all fine, belting out with glee the best performance they can - especially the girls - led by the affably gifted Dhanush. But they can only go far.

The script does not wander far from the templates set by the likes of Bharathiraja (village violence) and Kamal in his two important films, Thevar Magan and Virumandi (Village err… physical brutality). While Bharathiraja innovated, experimented, succeeded and is thriving mainly for those reasons alone, Kamal added intelligence to his storytelling in both stories, though he may have borrowed the structure. We walk away from both films feeling bitter and down, especially for having actually enjoyed the violent scenes. A guilty pang that will trouble you for days.

But here, the violence is glorified. No? Listen to the background score during those scenes, if those choruses and thundering sounds are not applauding and urging the scene participants on, and what the heck are they doing there? Yes, music is everywhere, but what is Tamil film without giving their composers a 100-meter dash for their money. Squeeze ‘em dry, that’s the filmmakers’ attitude towards the composers.

Much blood can be seen spilt and you will wonder what the heck had happened. Or at least, I did. We have the inevitable flashback without which the entire Tamil film industry is a Titanic. It was totally unnecessary “superhero origin” story. He was violent. He ain’t no more. Hey, look he is violent again. Pacino half mocked, half complained as Michael Corleone in Godfather pt. 3 “Just when I thought I was out, they pulled me back in!”.

I walked away from this film feeling unsure about not liking it. Dhanush and Vetrimaran combination is like, for the current crop of Tamil film fans, Scorsese and de Niro or Tim Burton and Johnny Depp. What can go wrong? Something can…there will be some few disgruntled film fans who had it up here with the scythe-related violent scenes and stories spun around it to justify the bloodbath…the very minority who will make no difference anyway.

Dhanush will continue to ascend, but are the fans going to look back at these flicks as the pinnacle of his performance? Time would tell. Completely deprived of humour, he allowed the size of his moustache to do most of the heavy lifting…and I say that he is actually underused here. Next time, Dhanush. I may not wait, because I am thinking quitting Tamil films on big screen…. again….

Rambo: The Last Blood (2019)

The Last Blood's timing couldn’t have been greater. Sure, the world is going extremely green, a regret knee-jerk reaction of the end of 21^st century. It reared its ugly head at the time when the US of A is led by a very, ultra conservative President, and so fearfully hilarious that he makes George W. Bush look like Einstein’s man servant.

It comes at a time when the conservatives have had it up here (I am pointing at the neck, what were you thinking) with all that liberal shit. Big corporations are waving green flag, despite the fact that many are smiling in front and farting somewhere in the third world. Big names are using green to further enhance their political or entertainment industry career. Peace is the name of the game, and all of them are going gung-ho about wanting peace despite the fact that they are haunting their own families, severing ties with true friends and investing in greed, because the green that most of them believe in are…well…the greenback of course.

Rambo is a product of Reagan’s era, even and it has since become so ultra-super-duper conservative that the writer of the original First Blood novel, David Morrel, denounced it, nay hated it. The product now belongs to Stallone, which he uses like a thief who has gone legit, goes back to a dark alley to mug someone each time the personal economy cries red alert.

Stallone needs Rambo, like a mechanic, needs one old Volkswagen to tinker in the workshop to show that hey, business is as usual. Stallone took his own creation, Rocky, and expanded its wisely…and Creed (Rocky IIIA) is off on its own track, possibly creating another vile set of films that dilute in quality as Rocky gets considerably old enough to coach mobile life-support system in the ring.

It is not that the audience actually didn’t want both…at least the non-Americans still have some sort of affinity with those characters, especially those who grew up in the 80s…like yours truly. I liked Rambo when I was a kid, and when I grew up, I found the character appalling and immediately lost interest in those films. No revisiting. No reunions, except in 2008 when I got disgusted with Rambo 4, not because of the overt violence, and unbelievable action. No, those two ARE the characteristics you look forward to in that escapist angst-ride dumb flicks…I was appalled by the over use of CGI for the violent scenes.  

But that film hinted a swansong…Rambo goes back home.

Or so we thought, and we are back with Rambo at his home turf, doing what critics called adult Home Alone shit.  Except, oh come on, Rambo did it first in First Blood. In fact, Home Alone was kids’ First Blood for crying out loud, so give Morrel and Stallone some credit here, please.

I shall not detail the plot so much, except it involves Rambo going to Me-hi-co to rescue a gal, and things do not turn out hunky dory…and our friend does both defending and avenging stuff. More explosions, bodies getting stabbed, shot at and torn apart. The usual.

Having the expectation already, I was not appalled. But somewhere in the middle of it all…and you will hate me for saying this…I saw the heart...at least a little bit. There was something quite human this time about our blood thirsty hero. He has no romantic attachment to the gal, unlike the last time around when it was hinted. The girl in question was a friend’s daughter and he looked after her like one too. So, when (err…spoilers alert?) she kicks the blood bucket…you actually feel for him. Sure, many of his own have died around him…but he had shown some emotional attachment to the girl even if their scenes were short and quick. Stallone the underrated actor does emerge at times showing his acting chops (he was nominated for best actor in 1976 alongside Robert De Niro, for crying out loud).

The violence this time (thankfully? I don’t know, I feel guilty here) is much more realistic than the cartoonish previous installment. Some, you may have not seen before. Some, the usual stuff. The Home Alone schtick…or rather, the First Blood booby-trapping stuff appears more plenty here, and things start exploding and body parts start splattering and you finally do feel, well into the third quarter, that you are in a Rambo film.

So, it’s a “like it or loath it” film, except most with hate it passionately, I am sure. I liked it. I liked it because it delivered what I thought it would deliver. Stallone works for audience…his audience…may have long deserted him.

One thing though, Stallone does not have all the fans to thank for. He was self-made and is still instrumental in his own longevity. He wrote Rocky, and worked his ass off for all the action films that ensued, constantly tearing his skin and breaking bones. Then, when things have gone quiet, he brought back Rambo and with its success, wrote and directed the first Expendables, that has since become a franchise of its own. And now, he pulled Rambo out of the retirement within retirement.

Whatever it is, there is nothing to stop Stallone to keep bringing back those characters (Rocky is still around though not in his own films) …and if the audience is flocking to see him drawing blood…why should he.  

Will he be back..sure, when Stallone’s well is dry. He rode into sunset, literally, in this film…but sunset is too far away, he might find few bloods to spill in Hawaii or something…

Gemini Man (2019)

This is a film that was supposed to matter especially to 80s kids, for two important reasons. One, Will Smith, and the other cloning.

Though cloning became the buzz word since Dolly the sheep tugged our hearts in the nineties (1996, the same year Michael Keaton appeared in Muliplicity, a light hearted take on cloning, which is not light on men’s heart if you consider seeing your many selves being intimate to you wife), the most memorable film about it was, because of the sheer size of the film and its hero, Sixth day.

This film is heavily related to it. More on that later.

And 80s kids – those defined as ones who are now entering middle ages and still figuring out what the hell happened last four decades – are not unfamiliar with TV and movie clones. That decade was filled to the brim with clones running amok and getting shot, or disintegrated, depending on the genres most preferred way of disposing of excess baggage. And we loved Smith in Fresh Prince of Bel-Air and the action films he started doing in the nineties, as we 80s kids entered adulthood and started paying for our movie tickets. But more on him later...

Now, the premise of Gemini Man is not too different from a Schwarzenegger’s outing, latter-day sci-fi, The Sixth Day…it involves the cloning of self and stuff, except the latter, which is not the best among Arnie’s outing, seem more intelligent.

There is nothing here that makes you want to crack the noodle behind your cranium despite bearing the “espionage” tag. With exception of films made on novels by John Le Carre and Len Deighton, Hollywood does espionage as brilliantly as Western chefs who cook Nasi Lemak with evaporated milk.

And there is nothing new in any department either, the storytelling, the action, the stunts, though the special effect do have something not entirely new but technically proficient to offer.

There is only two things to look out for in this flick: The de-ageing of Will Smith (which is not much, considering Smith looks youthful as he enters middle age), and the one fisticuff between the two, which I thought was entertaining and well made, effect-wise.

Other than that, its just run-of-the mills cat and mouse spy flick that’s full of clichés (betrayal), stereotypes (sidekicks), and formula (…Tom and Jerry). But what struck me was that the two talents involved is not just another recent coolest action director actor partner in town.

No, Between Ang Lee and Will Smith, there are awards, accolades, raindrops of praises, therefore expectations.  What happens in this film is the collection of the worst from both. In short, it’s just another paycheck flick in between some quality stuff they are known to have given us…at least in the case of Lee.

It’s a story about cloning, and the protagonist's clone, a younger self, is sent to kill our hero. How he sorts it out, and the ride filled with some really tame, stale action sequences is what maketh this popcorn flick. Slam! Bang! Pow! And we are done.

Honestly, the Sixth Day at least did ask some serious questions on the cloning issues, with even some religious morality thrown in for good measure when we see protests in the film, being pooh-poohed. Clone is here to stay. It is good for the medical fraternity. It is good for the ever hungry world…and back in the 80s it was really good to the TV series…and it was…especially when big moustache, and terrible wise-cracking ruled the small screen.

When clone issues cropped in Arnie’s Sixth Day, the nostalgic side of me lapped it up, plus with Schwarzenegger at helm, you just use the spare parts storeroom of your brain to do the thinking. And surprisingly, that film had a little bit of emotion and some fairly acceptable storytelling.

Now, coming to this flick, the expectation was naturally high. I did expect fair bit of aestheticism, which is fair because between all those accolades, there’s this golden naked bald guy, remember?

Let’s see, Ang Lee notched up altogether, 8 nominations and three wins. And Will Smith had two nominations. Considering that Smith did not win any, frustration must have led him to do the type of roles previously made popular by Robin Williams and now, role previously made popular by Schwarzenegger, Matt Damon, Brad Pitt, the list goes on…

Come to think of it, except for Fresh Prince of Bel Air, Will Smith had never actually done anything err..fresh, which makes this entire write-up, that intends to be a review, to take a look at Will Smith’s career and figure out…is he worth all that hoo-has.

In my books, there’s something about Smith that is comparable to, no other than, the Old Blue eyes. No, not Newman…that will be an insult to Paul. I mean, Frank Sinatra…he of New York, New York, Christmas Songs and Rat Pack fame.

Very few, especially the current generation know that Frank is a heck of an actor, and have actually won the best supporting actor Oscar (From Here To Eternity) and pinned many nominations badges that his crooner’s uniform has run out of space.

First and foremost, Frank is an entertainer. And to entertain, he had to know the pulse of the audience. And as a singer, he had them down pat, while as an actor, he hardly disappoints no matter how dismal the film maybe or how mainstream (Von Ryan’s Express is not as great as a McQueen or Heston flick, but was highly entertaining, only elevated Frank’s earnest performance).

Likewise, Smith always had an eye firmly winking at the audience, no matter how weighty the flick is, or how serious the character is. That’s why the producers had the guts to give him the role in Aladdin, the role that Robin Williams just hijacked with immensely charismatic ferocity and used it to conquer our hearts.

Smith made Independence Day fun, when it could have been depressing. Smith was the heart of the three Men In Black flicks, he represented us in the chaotic world he was thrust into and his hilarious commentaries not only tickled us but also had us nodding our heads in unison.

Smith has that power. But somehow, working with Ang Lee, a brilliant auteur in his own rights, something just did not click in this film. I would blame the script that is about as brimming with life as a polished spittoon. Cliched, hackneyed, stereotyped and I am repeating myself. That’s how you would feel when you see the same shit again and again that you had already seen in the 90s.

Anyway, apart from that one standout scene, there is nothing else. There was nothing else to look forward to when you know actually how the film is going to end. You know the end, and also the end after the end (post climax, climax that seemed to be rearing its ugly heads these days because. I believe, producers want to give an option for those who had finished their popcorn and those who had not, especially the post-credit scenes which I call “pee holders”).

Would I recommend to give it a miss? No. Watch it and despise it if you feel like it. Rejections would pressure Hollywood to give us better films over time…and what do you mean foreign market... Aww shucks!

Joker (2019)

My fascination with the character Joker began not during the Caesar Romero era (the 60s campy TV series) …no… it was in 1989, that unforgettable year in Hollywood, summer of bloodbath as it was called when fantastic films were unleashed very close to each other.

Here’s the list according to this site

1              Batman

2              Indiana Jones and the Last

3              Lethal Weapon

4              Honey, I Shrunk the Kids

5              Rain Man            

6              Look Who's Talking

7              Ghostbusters II

8              Back to the Future Part II

9              Parenthood       

10           Dead Poets Society

Batman led in the collection department and there was so much to be enjoyed in that first proper reincarnation of the Dark Knight on big screen…. thanks to Tim Burton’s noir/gothic take on the comic book superhero, coupled with great score by Danny Elfman…and the biggest draw was the actor who took the lead credit, and did not play title character, Jack Nicholson who played The Joker.

His Joker was different from the previous incarnation that was Caesar Romero who was just a clown dispensing terrible jokes and committing laughable crime. It was intentional and we did had fun. With Jack at helm, I took the character seriously and started imitating him, annoying a very close friend, my ex-classmate who still bears the grudge thirty years later.

Anyway, there was several incarnations of Joker later, but I cannot imagine anyone upping Jack’s interpretation. His was a maniac, with a touch of silliness and you are not sure to laugh with him, at his antics or to be terrified by his action. Jack stole the thunder and set the tone of the next three Batman films to come where the guys playing Batman end up regretting playing part which actually was playing second fiddle to the headlining bad guys.

Now, let’s look at this origin story of Batman’s most nefarious and popular nemesis, The Joker. As a comic book movie, this will be disappointing. Terribly. There’s nothing comic book-y about it at all. Nothing.

But I ended up seeing it as a spiritual side-quel of the likes of the early two Martin Scorsese flicks (both starring Robert de Niro who appears here, perhaps a nod), Taxi Driver and King of Comedy. This film, in fact, could be an amalgamated remake of those two films.

Is this an origin story? Yes and no. Yes, because of course, we all know who the Joker is, and the character himself names himself that at a crucial point in this film. No, because this can be a standalone flick, a character study not unlike the two films mentioned (go to other reviews, most of the critics definitely will mention the parallel, nods and the similarities).

Yes, its gritty. It reminded me of those neo-noir films that came in the 70s onwards…with Joaquin Phoenix’s Arthur Fleck, the title character, resembling Travis Bickle, in many ways. We sit with him and personally go through his trials and tribulations as he struggles with his psychological afflictions and anti-social predicaments.

We, then, are slowly forced to embrace his felonious descend into supposedly morally decayed reactions. We ourselves are not sure whether or not to root for him. This really rocks our conscience. With exception of Michael Keaton, I am not a fan of any of the other Batmans (yes, even Bale…I like the films, I never liked Bale/Batman), therefore I might actually root for this Joker too. Yes, Keaton prevented me from rooting for Jack in that film.

The film, seemingly set in late 70s and early 80s, evoked those two Scorsese films to my delight. Scorsese is my favourite Hollywood director and I thought the evocative aura that emanates from the setting, the location and overall feel of this entire flick was a nod, a homage, a tribute and an enhancement of how Scorsese made the seedier side of New York itself as a leading character in those films.

So, how do I rate this film overall? It’s a thought-provoking film… an intellectual roller-coaster ride and there can’t be a better choice than Joaquin Phoenix to play this character in this film. He just kept me glued to my seat and I forgot to finish my frickin’ popcorn by the time it finished. There will be awards, there will be accolades…but there will also be onslaught of serious studies on other characters from comic books that are not the current tights wearing super champs.

The Jokers over the years....
Top row: Caesar Romero, Jack Nicholson, Mark Hamill (voice).
Bottom row: Heath Ledge...whatsisname...Joaquin Phoenix.

But Joaquin took what little brilliance there was in Heath Ledger, and made a big deal about it, that it will intrigue us...wanting us to peek deep into his mind only to find a disturbing abyss in it.

It’s a character study on the fearful nature of man who, when pushed can be as animalistic as he sits brilliantly at the top of the food chain. Comic book villains have always been the draw, without them the heroes are nothing. But here is a film about a bad guy in an environment filled with worst folks. What is a shade of grey in a flick where the rest are not exactly black and white or any other colour neither. Phoenix and the director completely snatched a character from the pulpy prints and gave a grotesquely intriguing portrayal that will be remembered for a long, long time, giving the comic books the dignity it never quite deserved the way it has kept recycling its stories and characters to grab the last drops of penny from a child’s piggy bank.

This is a heck of film. I really loved it and it did disturb me. In short, I cared for this Joker and I am scared shit of him.