'The Grudge' is a Little Too Serious for Ju-on

Nicolas Pesce's The Grudge is filled with dread and horror, that it forgot to inject a little fun into it. Instead, it has a prestige dramatic story based on its origin, Ju-on. It focuses on three families, almost like an anthology, except that each of them is connected with each other. One very important aspect of Pesce’s storytelling, which he brought along from the original, is his play with time. Though the flick begins with two detectives, Muldoon (Andrea Riseborough) and Goodman’s (Demian Bichir) discovery of a decaying corpse in the woods, the story cuts between the current time and the bits and pieces of the other stories that lead to this frightening discovery. Pesce knitted these stories together so well that its drama and its detective feature are almost the only two good things that's going for it.

Photo: Columbia Pictures

Where it falls short is the horror, and unfortunately, it's a horror film first before any other genre. It relies a lot on jump-scares which unfortunately are not that scary. They're surprising but the fact that they look like ripoffs from other scary movies make the jump-scares predictable and less impactful. Probably a good thing that the film doesn't dwell too much on its origin, but it also removed the horror and tricks that fans love from Ju-on and completely barred it with fun. The Grudge is about rage, death, grief, and revenge. This one has these but only in a minimum dose.

Ju-on has always been about campy horror and Pesce is obviously not interested in that. Narratively, it's a competent film as Pesce weaves each stories in a non-linear structure and made it interesting. But the throaty, scary sound or Kayako is sorely missing. It would probably work better if it's tagged as a True Detective story.

On a positive note, it's a well-acted film by an ensemble consisted of talents like Andrea Riseborough, Jackie Weaver, Lin Shaye, Jon Cho, and Demian Bichir. They make it as interesting as possible, especially that their characters are also distinct, each have their own purpose and baggage. It also helps the narrative a lot that they're from different stories so their great talents are scattered throughout the film.

In short, it's a well-knitted narrative with a great ensemble, and only falls short in its horror.

'Richard Jewell' - An Earnest Look at an Unlikely Hero and a Compelling Critique of the Law Enforcement and Press

To be one of the oldest directors in Hollywood and be one of the most consistently hardworking filmmakers there is, we gotta give Clint Eastwood some kudos for that feat. His career varied from Western films to even romance and drama. But lately, he's been into championing America. What it means to be an American--from heroes to the authority, from press to the society.

Photo: Warner Bros. Pictures

In his latest, he puts one of the most unassuming heroes of the recent generation. Richard Jewell, a security guard who reports finding the device at the 1996 Atlanta Olympic Games bombing, saving countless lives in the process, only to be hunted by law enforcement as their suspect.

Richard Jewell is one of Eastwood's more competent outing after some of his slightly forgettable ones like The Mule and Sully. The subject is way more fascinating, and the narrative is lightning fast. The ensemble consisting of Paul Walter Hauser, Kathy Bates, Olivia Wilde, Jon Hamm, and Sam Rockwell are all terrific.

The film also tackles several themes. While earnestly painting Jewell as a hero, Eastwood also magnifies the imperfections of law enforcement and media in handling this tragedy during its time. Its depiction of media, however, is a bit excessive especially in how it portrayed the real-life journalist Kathy Scruggs, who's not alive to tell her side of the story. For a film that critiques the way the press, specifically Scruggs, handled their information, screenwriter Billy Ray isn't also that modest in taking way too many liberties with the character.

In the end, its strengths overshadow its major flaw. Eastwood clearly is about expressing the value of good intentions. Richard Jewell's argument about focusing in protecting the community rather than persecuting someone for the sake of reputation is a big and valuable resolution. It's the one that sticks out and it's the film's most important lesson.

'Cats' is Tom Hooper's Half-Human-Half-Kitty Galore

If there's one thing to say about Tom Hooper's Cats, is that it's incredibly watchable. A head-scratching, mysteriously fascinating watch that would hook you in right off the bat mainly because of its weirdness. It starts right away without any warning. From the get go, we see Victoria (Francesca Hayward in her feature film debut), a stray cat thrown away in a dumpster, finding herself surrounded by a gangster of cats. She then eventually serves as the audience's guide into their strange world meeting other distinct furry creatures who share the same goal of performing at the Jellicle ball where the wise and beloved elderly cat Old Deuteronomy (Judi Dench) chooses which cat deserves another chance at a different life in the Heaviside Layer.

Photo: United International Pictures

Cats' appeal is inexplicable. For someone like me who doesn't know anything about the story, my head kept on wondering--what's going on, why are they dancing ballet as cats, and why do they look like cats but not entirely like one--and I kind of enjoyed it? It's almost like experiencing an acid trip, which I haven't experienced, but watching Cats might have shown me a glimpse.

Part of its strangeness is how the songs and the way they're sung are a bit incomprehensible. Not to mention all the dancing, the props, the background are really chaotic, neon-lit colorful, and overall festive. There is also a handful of characters, as distinct as they all look, could be quite overwhelming to be familiar with. So all of the senses, while watching everything unfold, is turned max up. Hooper also doesn't give way for cathartic moments. After one number, the next one comes right away. It's a chaotic hullabaloo, but it's part of the package.

What also pulls this one down is that it demands to be vivacious but Tom Hooper's vision couldn't match its energy and creativity. For a film adaptation of Cats, this feels limited when it shouldn't be because it's not nailed to the stage of a theater. Uninspired steady shots and close ups bring nothing to elevate its material so some of its big moments do not soar. There are obviously numbers that are given more effort, specifically Taylor Swift's Macavity but the rest feels like Hooper doesn't know what to do with the songs and numbers. 

The good thing is that Andrew Lloyd Weber's songs are good, and even Taylor Swift's Beautiful Ghosts is beautiful. The latter doesn't quite mesh well with the harmony of the other songs, but the whole soundtrack is a variety of speed and tempo so it's all good. The cast are also very committed to their roles. Jennifer Hudson as Grizabella, Ian McKellen as Gus, and Idris Elba as Macavity are the standouts but the CGI and their look could have been better.

For me, Cats isn't the catastrophe that everyone expects it to be. I didn't not like it, but it's also obviously not the best musical out there. Still, it's very easy to enjoy it.

'Motherless Brooklyn' - A Hearty Neo-Noir Detective Story

Edward Norton caps off this decade by writing, directing, and starring in a film about a detective with Tourette's syndrome named Lionel Essrog, who dares to solve the murder of his mentor, Frank Minna. Adapted from Jonathan Lethem's novel Motherless Brooklyn, Norton attempts to bring Lethem's characters into a different period, giving it a neo-noir comedic treatment re-setting in 1950's New York.

Photo: Warner Bros. Pictures

Equipped with his creative mind and only with a few clues, Lionel untangles closely confidential secrets that hold the fate of New York from one Burrough to another. He fights corruption, thugs, and one of the most dangerous and powerful men in the city to honor his deceased friend and save a woman who could be instrumental to his own sanity.

Norton obviously poured his heart and soul into this project. It's ambitious from its overall style and his distinctive portrayal. He noticeably wants to give the best-selling book justice. For one, he makes Lionel incredibly likable whose quirks could easily be defined as identifiable and adorable. His portrayal of Tourette's syndrome could be seen as over-the-top but it's an eye-catching performance overall.

Motherless Brooklyn's thorough neo-noir vibe is also very believable. It's a gimmick that could either go wrong especially with the wrong material, but its detective storyline pretty much suits the atmosphere Norton created. And it's not as simple as solving a murder mystery. It goes beyond a more serious matter surrounding New York. It even tackles race against the city's biggest businessmen. But the film got me hooked not because of its spectacle. It's Lionel's life as a detective and as a human that is more outstanding.

Norton's character, Lionel, shows persistence in pursiing his career under the circumstances. He understands his condition and how it would be perceived by others but that doesn't stop him from doing his job. What's even more touching is that there are people around him that would completely embrace him as he is. From Bruce Willis to Gugu Mbatha-raw, and finally Edward Norton, they bring out the humanity in a big material like this. Their hearts and even humor outshine the complicated and serious subject of the film.

'Jumanji: The Next Level' is an Avatar-Swapping Adventure

Like any other modern video games or video game app, Jumanji gets an upgrade. This time with new and improved characters, different strengths and weaknesses, harder tasks, and surprisingly, more heart. But The Next Level still finds the four teenagers from Welcome to the Jungle trapped in the world of Jumanji. Only they're joined by Spencer's grandpa, Eddie, played by the funny Danny DeVito and his old business partner-turned-nemesis, Milo, played by Danny Glover. Awkwafina also joins the fun as a new avatar, Ming, a pickpocket whose one weakness is pollen.

Photo: Columbia Pictures

As always, the game and the world of Jumanji is never easy to navigate. And since this is the 'next level', the game is fighting back even if it's broken. This means more stampede and harder levels which also means big action, magnificent visual effects, vast locations, and other unexpected twists.

The main avatars, Dr. Smolder Bravestone (Dwayne Johnson), map expert Dr. Shelly Oberon (Jack Black), zoologist Mouse Finbar (Kevin Hart), fierce woman Ruby Roundhouse (Karen Gillan), and Seaplane (Nick Jonas) are still available. It's only a matter of which human is going to inhabit them. And that's where the fun begins.

The Next Level is hilarious mainly because the cast gets to play around with their avatars slash characters. Even better, there's a new feature in the game where they can swap avatars that perfectly suit their strengths and weaknesses. This enables each of the cast to show their range as actors. The result is a riot, especially when they get to portray a character that is the opposite of their other roles.

Jack Black shines the most especially when he gets to portray Bethany, a nice and sophisticated friend of Spencer. But pretty much everyone delivers. Even Awkwafina whose roles vary from a heartbroken teenager to an old cranky grandfather, showing yet again her range as an actress. Its body-swapping component is definitely the film's strongest suit.

But Jumanji is not Jumanji without the chaos. The Next Level still has the thrilling obstacles that these characters have to overcome--including arid sand dunes filled with a flock of angry ostrich, to treacherous canyons, to a setpiece with hanging bridges full of angry monkeys, and to a winter fortress as the last level where everyone becomes heroic. In the end, this film has them coming to terms with who they are and how the game has changed them.

Lastly, beneath the comedy and the challenges, its heart is in the relationships of the group. There are no villains. They are one in competition against a game, and throughout the game, there are mended relationships, a second chance at friendship and a romantic reconciliation. It is hilarious, and to top it all, it is good-natured. It's a feel-good movie despite all the exhilarating stress in between.