Displaying items by tag: Channing Tatum

BLINK TWICE

US, 2024, 102 minutes, Colour.

Naomi Ackie, Channing Tatum, Alia Shawkat, Christian Slater, Simon Rex, Adriana Arjona, Haley Joel Osment, Liz Caribel, Levon Hawke, Geena Davis, Kyle MacLachlan.

Directed by Zoe Kravitz.

We, the audience, are invited, whether we like it or not, to take a trip to a Fantasy Island, a horror Fantasy Island.

This is a first film cowritten and directed by actress, Zoe Kravitz. She has invested a great deal of imagination and ingenuity to creating it. It is very much a film of the #MeToo consciousness of the last 20 years or so. And, it brings to mind the criminal behaviour of predator, Jeffrey Epstein, and judgements on him and his behaviour.

But, it doesn’t quite start that way. We are introduced to function cocktail waitress, Frida (Naomi Mackie) rapt in photos on her phone, idolising the guest of honour, Slater King (Channing Tatum in what eventually becomes a demanding role). The function is in honour of Slater King, his regrets for his behaviour in his business career, now a champion of philanthropy.

With his charm, Frida and her roommate, Jess, find themselves, as the audience does, on a plane to Slater’s island. For the next half hour, the guests, half a dozen young women, with some men friends on the island, have what they call a good time, no, “great time”, eating, drinking, gourmet food and alcohol, lazing by the pool, for days on end, losing a sense of time… (Audiences who would envy such a great time,

they will enjoy this hedonistic holiday; those for whom there is more in life than idling it away, it seems a very long time before anything really happens.)

Obviously, there is a danger of spoilers when the action gets going. Perhaps best to say that a key issue is the role of memory. Is it important to go back into the past to remember, to help with explanations of events in life? Or is it better to let the memories go and to move into the future? And so, with this shift in the drama, some of the guests remembering, disturbed by memories, decide to go into action to save themselves and others…

Which means then that the great time turns into something of a messy time and mayhem.

Blink Twice has quite a strong supporting cast including Alia  Shawket and Adria Arjona as two of the young women, Christian Slater and Haley Joel Osment as two of the guests, Kyle MacLachlan as a psychiatrist, Geena Davis as something of the housekeeper of the island.

As might be expected, there is a challenging ending – and the audience having to go away to reflect on the #MeToo implications of what they have just seen.

1. A film from the Me-Too# era? Women and men? Misogyny and exploitation? The island and audience memories of Jeffrey Epstein and his crimes?
2. The film as reality and fantasy? Fantasy Island?
3. The title, the reference to gaze, to photography?
4. The introduction to Frida, the phone, the photos, swiping through, the photos of Slater King, the infatuation? Her friendship with Jess, roommates, shared experiences? The cocktail waitresses? At the annual event, memories of the previous year, the advice of their supervisor, to smile and mingle? Audience identification with the two young women? Younger audiences and identification? Older audiences observing?
5. The story of Slater King, played by Channing Tatum, his reputation, his companies, change of heart, his repeated apologies, the celebration, the host, the guests, the speeches, food and drink, the dancing?
6. Slater, the attraction to Frida, with her, her response, awkwardness, charm, the dancing, with Jess, the invitation to the island? Their leaving everything, the flight to the island?
7. The island, a fantasy Island, the plane, the beauty of the island, the isolation, the main buildings, the grounds, the terrain, giving up the phones? Slater as host, his continued attention to Frida?
8. The range of characters on the island, the young women, seeming friends, but not having met before, the response to Slater, their hopes? The men, Vic, older, his camera? Tom, short, baby-faced, indulgent? Cody, vain, pride in his cooking and announcements? Lucas, younger, thinner, hanger-on?
9. The first 40 minutes, sensual, the accommodation, the clothes, everything available, the food and meals, the lighting, the drink, the drugs, the pool? “A good time”, “a great time”, hedonism, self-indulgence, the effect on the guests, Slater as host?
10. The change in tone, the issue of Jess, her participation in the great time, but wanting her phone, wanting out, her cigarette lighter with her name, the disappearance, nobody remembering?
11. The theme of memory, Slater and Frida and the discussions about memory, not going back into the past, erasing memories, living in the present to the future? The discussions with the therapist, at the party, his visit to the island, collusion with Slater?
12. The mysterious local inhabitants, the old woman, Frida encountering her, not understanding her, the snake, the venom, the drinks? The local workmen? Those who served at the dinner?
13. Frida, uncomfortable, memories of Jess, the friendship with Sarah, Sarah and her memories of being on television, Survivor, their working together, understanding the drinks, the issue of memory, the role of Slater, the other men? Frida and her searching Slater’s room, the photos? Under suspicion?
14. The role of the other girls, caught up in the hedonism? The contrast with Frida and Sara, then manoeuvres, building to the set up, the mood to violence, the knives?
15. The role of Stacy, older, housekeeper, her ditzy manner, dropping things, the issue of the armchair and its place, sometimes sinister presence, with the young women, her death?
16. The uprising, the confrontation of the men, the stabbing of Cody, Tom in the pool, the attack on Vic, Lucas and his death?
17. The role of the therapist, the danger, working with Slater?
18. The unmasking of Slater, exploitation, his charm, his real character?
19. The irony of the ending, the annual show, Frida in charge, control, Slater and his subservient presence? The future?
20. A contemporary drama/horror/parable about men and women in the 21^st-century?

DEADPOOL & WOLVERINE

US, 2024, 128 minutes, Colour.

Ryan Reynolds, Hugh Jackman, Emma Corrin, Matthew McFadyen, Jon Favreau, Marina Baccarin, Rob Delaney, Leslie Uggams, Jennifer Garner, Wesley Snipes, Channing Tatum, Chris Evans, Henry Cavill, Tyler Mane, Blake Lively, Nathan Fillion, Matthew McConnaughey.

Directed by Shawn Levy.

 Probably best to say at the outset, Deadpool & Wolverine is beyond review. Within two weeks of its opening around the world, its box office is almost $1 billion. Which means that worldwide, it has been instantly seen by millions. With much more to follow.

It does raise an interesting 2024 question concerning the two films which have been most successful, Inside Out 2 and Deadpool and Wolverine. What they have in common is the animation/cartoon style. And they appeal to a wide audience. However, Inside Out 2 is appealing to deeper human feelings, to sensitivity and empathy. Deadpool & Wolverine is appealing to an emotional bonanza, excitement extravaganza, no holds barred, limitless imagination, potential cosmic destruction, violent visual conflict between good and evil, and superheroes to the rescue. And, not exactly modestly, Deadpool considers himself as a world saviour, a ‘Marvel Jesus’, booking his place in future Christ-figure studies.

There were a lot of writers for this film, including Ryan Reynolds, and it is full of disposable, throwaway quips, some of them very funny, references to the ups and downs of the Marvel film franchise, Disney, a collapsed Fox logo, to Hugh Jackman and his divorce, but there for the attentive satirical ear.

And the film presupposes favourable response to Deadpool in the Ryan Reynolds style (and a later Reynolds variation appears, over nice with the pet dog, Dogpool). Wade Wilson with his mixed history and burnt face, is eager to be in Avengers story, but put on hold. However, as always with American films, there is a bureaucratic British villain, Matthew McFadyen (now widely-known because of his presence in Succession). There is a bureau for saving timelines, there is a threat to the universe, Deadpool is there to combat but the only person he wants to work with is Wolverine. (And a bevy of jokes about a range of alternate Wolverines, visualised comically, all Hugh Jackman-aggressive). Probably this is the moment in a review to mention what one might call hyper-frequent coarse language.

There are also constant references to the previous Deadpool films as well as to the many X-Men films which fans will enjoy (and quite some entertaining references during the final credits). A surprise for the early viewers of the film but now everybody knows, a lot of cameos from previous superheroes like Wesley Snipes as Blade, Jennifer Garner as Electra, and especially Chris Evans as Captain America and a French-accented Channing Tatum. Even Ryan Reynolds’ wife, Blake Lively, appears as Lady Deadpool!

While it is acknowledged with specific reference to Furiosa, a large part of the early film is an extravagant variation on the Mad Max movies. Then we discover a new villain, Cassandra (Emma Corrin), a bald half sister of Patrick Stewart’s Charles (though he and, up till now, we, never knew about her). And she has super destructive powers. Which leads to quite a lot of mayhem, extravagantly high body count, the confrontation with a legion of Deadpool variations and their slaughter – but the power of regeneration and the possibility of it all over again.

So, it looks as though this is the entertainment to cheer worldwide audiences in the Groupe of so many war tensions, civil wars and invasions, terrorism of 2024. As they say, the audiences have been lapping it up – but, those with more restrained sensibilities, might find it more than they can gulp or swallow.

FLY ME TO THE MOON

US, 2024, 132 minutes, Colour.

Scarlett Johansson, Channing Tatum, Woody Harrelson, Ray Romano, Jim Rash, Anna Garcia, Victor Garber, Donald Elise Watkins, Noah Robbins..

Directed by Greg Berlanti.

On the one hand, this is an old-style romantic comedy, memories of the 1930s and what was called screwball comedy. On the other hand, the setting is 1969, NASA, preparations for the moon landing, its achievement. And they come together entertainingly here.

For those of those who remember 1969, it is a welcome reminder of the atmosphere of the time, the heightened excitement as July neared, the actual landing, “one small step…”, The sense of achievement, something of a balance to the turmoil of the Vietnam war. Audiences for whom this is something of remote history, it is an opportunity to learn something of the atmosphere of the times.

In the 21^st-century, we live in an age of conspiracy theories, many of them outlandish. However, even back then , there were conspiracy theories that the moon landing did not happen, that everything was manufactured on the studio lot – and the film later re-creating this speculation, Capricorn One.

The screenplay here amusingly incorporates the conspiracy theory of the fabrication of the moon landing along with the real thing.

Scarlet Johansson is definitely the star of this romantic comedy, Kelly Jones, one of her most forceful performances, something of a con artist, skilful in promotion and advertising (which we see in the opening sequences and are somewhat taken aback), then recruited by a mysterious secret agent who claims he has a line directly to President Nixon, and played with smilingly smug complacency by Woody Harrelson. Her mission is to make the moon landing and its preparations much better known to the American public.

What follows is an extraordinary look at American brashness, self-confidence, promotion of any product by any means possible – and here, on radio, television, imprint, rallies, breakfast cereals, omega watches, soft drinks are all incorporated into the promotion as well as, more seriously, some extraordinary lobbying of senators who are inclined to cut off funds for NASA.

Kelly is able to rise to every occasion, walking over most opposition, changing her accent at a moments notice, flirtatious one minute and religiously devout the next!

The other part of the romance is Channing Tatum, rather more serious, a touch sombre, a former Korean pilot, the launcher chief for the Moon project, very conscientious about his work – though the screenplay is a bit satirical about him and his style. When, by chance, at a diner, he sees Kelly, he is infatuated – but soon disillusioned when he discovers her mission, how she operates, the manipulation of truth and lies. But, he does get caught up in the melodrama, often unwillingly.

While the film is very strong in its presentation of the NASA work, the visuals of the plant, the control room…, It entertains the audience with the whole setting up of the fake landing, the studio, moon rocks and dust, space vehicles and gear, all rehearsals about space walking… And extraordinarily prissy director.

A wandering NASA black cat is key to the events – especially for the fake landing.

So, on the one hand, romance and comedy. On the other, memories of when America was greater than it is now…

1. The title, the song? Romantic comedy? Screwball comedy? Preparations, achievement of the moon landing, 1969?
2. A piece of Americana, the advertising and promotion world, science and technology work and space, politics, agents, cover?
3. Cape Canaveral, 1969, the reconstruction, the tallest single story building, interiors, the plant, the layout, the control room at the desks, the comparison with the ordinary, motels, diners, the wharf, and the set for the reconstruction for the moon landing?
4. The musical score, echoes of the 1960s, the range of popular songs of the period?
5. The introduction to Kelly, the pitch about the cars, pregnant, challenging the executives, naming their cars, revealed not to be pregnant, to research the information? Their reaction on discovering the truth? Ruby as her assistant?
6. The buildup of Kelly’s character, her revelations about her past with her mother, then the mother and the shooting, telling her daughter to run, change of names, experience with scams, moving into various industries, finding a home in advertising? Her personality, forcefulness? Her being recruited by Moe, his hold over her, explanations?
7. The introduction to Cole Davis, the Korean War background, his work with NASA, launch control, his responsibilities in the failed attempt on the deaths of the astronauts, preying on him, the garden at the monument? Best pilot, heart condition, rejected for space? Project with Henry Smalls, working with him? The introduction, the escaped gas, using the broom, everyone observing, the explosion? His deadpan style? He is visit to the diner, looking at Kelly, her pages on fire and dousing them, his declaration about her?
8. Kelly and the job, promotion of the Moon journey, for American consciousness? The world of advertising and promotion, American push and know how? Her charts, the drinks, the watches, cereals…? The television contacts, her barging through the plant, taking Walter’s entry card, the challenge by Cole?
9. Moe, his ambitions, secret agent, ear of the president, persuading Cole to do the television interview? His hold over Kelly? The plan for the alternate moon landing? Kelly and the previous contact with Lance, his cruising manner, tantrums, perfectionism, ambitions, job, secrecy, expectations?
10. The months of 1969, the work in preparation for the liftoff, Cole and his responsibilities, relationships with people, decisions? Henry Smalls, personality, collaboration, smoking, talking with Kelly, the need for verisimilitude for the fake moon landing, the tactics, getting Henry to show everything, promising the four work to the book?
11. The relationship between Cole and Kelly, his wariness, her brashness, sharing experiences? Ruby and the young technician, his awkwardness? The dances? The two young men and their enthusiasm, the staff in the 20s, the order in their 30s?
12. Solving problems, the Congress votes, the senators, the techniques that Kelly used to persuade them, the vain senator and photo opportunities, visit to Louisiana and the religious people, quoting the Scriptures? Kelly and her ability to adapt, lies and impersonations?
13. Kelly apprehensive about flying, the flight, the success of the mission, the relationship?
14. Kelly persuading Cole to do the television interview, his being unwilling, her preparing the questions, the interview, the intrusion by the interviewer, his angry reaction?
15. Moe the issue of the cameras, disabling the shuttle, getting the sound feed, but showing the fake landing? The preparations, the set, the camera, sand desert rocks? The actors and their impersonations?: His reaction to the actors? The rehearsals, the comic touches and failures?
16. Kelly, disillusioned, the confrontation with Moe, her decision to leave, the airport, his talking with her, her change of heart, the return, the explanation to Cole, the issue of fixing the camera on the shuttle, the two young men, her driving, smashing the window, the television set, the police escort, the last-minute change? Tensions?
17. Walter Cronkite, the millions watching on television, the crowds at Cape Canaveral? The liftoff, the flight?
18. The landing, the real, the fake performance, the sound, the “one small step…”? Checking what was real, the blurry nature, Moe wondering whether this was fake? The ultimate success? Moe and his change of heart, pride?
19. The success of the mission? Kelly and the revelation of the truth about herself? Ruby and the young technician? The future?