Gemini Man (2019) review

For the past few decades, Ang Lee has consistently been one of the most prevalent filmmakers in the industry. After making it big in his native country of Taiwan with a pseudo-trilogy of films known as the Father Knows Best trilogy that explored the clashing of generational ideals, Lee transitioned to Hollywood and would go on to helm several critically acclaimed films. This includes, among others, the Emma Thompson-penned adaptation of Jane Austen’s Sense and Sensibility, the groundbreaking martial arts flick Crouching Tiger, Hidden Dragon, and the emotionally devastating romantic drama Brokeback Mountain. However, in recent years, Lee’s films have become defined by their attempts at breaking new ground in the medium of film. This arguably all began with his 2012 outing Life of Pi, which was one of the biggest hits of that year and touted for its impressive visual effects. Four years later, Lee took on his next project, Billy Lynn’s Long Halftime Walk, which became notable for being the first film shot at a frame rate of 120 frames per second, five times more than the industry standard of 24 frames per second. However, this method proved to be difficult to present in theaters, which meant that only a select few could present it in its intended format (120fps in 3D at a 4K resolution). But now Lee’s back with his newest attempt at a film shot at such an astoundingly high frame rate, Gemini Man, and while its script doesn’t exactly match the aspirations of its technical aspects, it still manages to be a decent little action flick that also serves as a fascinating experiment for its technology.    

After years of being one of the top assassins in his field, Defense Intelligence Agency operative Henry Brogan (Will Smith) decides that the time has finally come for him to retire. However, not long after leaving his old life behind, Henry learns from his old colleague Jack Willis (Douglas Hodge) that his last target wasn’t a global terrorist as he was originally led to believe. Instead, he was a scientist who was working on a secret black-ops project known as ‘Gemini’, and as a result, Henry learns that he’s become marked for death by his superiors, specifically Gemini’s director Clayton Varris (Clive Owen). This, in turn, forces him to go on the run with fellow DIA agent Dani Zakarweski (Mary Elizabeth Winstead), who also becomes a target due to her interactions with Henry. Eventually, Henry finds himself pursued by Gemini’s top asset and is surprised to find that this mysterious agent acts a lot like him while out in the field. Sure enough, Henry ultimately discovers that this agent, named Junior (also played by Smith), is his younger clone and has been raised by Varris to be the ultimate assassin without any of the emotional baggage that had led to his retirement. Thus, as Henry and Dani fight to stay alive against Varris’ forces, they must also try to convince Junior of the ulterior truth behind his existence.

The first thing to talk about when it comes to this film is its ambitious 120fps format since I was lucky enough to be at a theater that could present it as such, albeit at a 2K resolution instead of 4K. Sure enough, that difference in frame rate is noticeable as soon as the film begins… which also means that it’s quite distracting at first when you’re seeing images that move much faster than what you’re normally used to when watching a film. As such, I can see why some feel that this format hinders the classic cinematic feel and makes films look like soap operas in the process, especially whenever an in-camera transition like a zoom-in/zoom-out is used. At the same time, though, it does live up to its claim of producing a highly crisp image quality that, in turn, also lends itself nicely to 3-D. This is especially apparent in the film’s action sequences, which are enhanced considerably by their crystal-clear cinematography. However, this primarily applies to any action sequence set during the day since, aside from the finale, most of the nighttime action sequences are severely hindered by some incredibly hasty editing. As for the film itself, there’s admittedly not much to talk about as this is very much one of those middle-of-the-road action flicks with a decent enough premise but also minimal plot and character development. After all, it is worth noting that this film has been in the works since 1997, with the likes of Joe Carnahan and the late Tony Scott attached to direct it and stars like Harrison Ford, Tom Cruise, Mel Gibson, and even Sean Connery being approached to headline it.

Ultimately, Will Smith ended up being the one to headline this film, and despite its shortcomings, he’s easily its biggest highlight thanks to his solid turn in the dual role of Henry and Junior. Of course, to have Smith properly portray the latter, the film goes the same route as several recent Marvel Studios films by de-aging him with CG and motion-capture technology, and for the most part, the visual effects for Junior are solid. It also helps that Smith manages to establish a solid distinction between the two, with Henry being the disenchanted veteran forever hardened by his experiences in the field and Junior being the wet-behind-the-ears rookie who gradually begins to experience moments of pure emotional turmoil despite being a clone. Everyone else in the cast is solid as well even if they don’t have as much to work with by comparison. Mary Elizabeth Winstead, for example, is a solid foil to Smith as female lead Dani, who thankfully isn’t just limited to a straight-forward ‘love interest/damsel in distress’ role since she does get to partake in several of the film’s action sequences. Backing the two of them up is Benedict Wong as Baron, an old ally of Henry’s; sure, the role is your standard best friend archetype, but Wong makes the most out of what he’s given. The same applies to Clive Owen as main antagonist Clayton Varris; it’s as basic of a villain role as you can get but at the same time, the character does manage to form a fascinating father-son relationship with Junior.

Gemini Man notably served as my first major experience of seeing a theatrically released film that was shot and presented at a high frame rate. As you might have guessed, I didn’t see Billy Lynn’s Long Halftime Walk in theaters, and even if I did, odds are that it wouldn’t have been at the full 120fps format since only a few theaters in the country could present it as such. However, I still remember when Peter Jackson did something similar a few years back when he filmed the Hobbit trilogy at 48fps, double the industry standard. Plus, unlike Billy Lynn, I was near a theater that could show these films in their intended format. And yet, while I did have the opportunity to see the first Hobbit film, An Unexpected Journey, in the 48fps style, I only ended up seeing it via the traditional 24fps format in IMAX 3D. Regardless, the film’s use of a high-frame-rate proved to be highly controversial, and as a result, this experiment arguably fell by the wayside once The Desolation of Smaug and Battle of the Five Armies rolled around as their 48fps screenings came and went with little to no fanfare. Thus, while I’m not going to outright dismiss the concept entirely, it’s still very much an inherently flawed method of filmmaking as it provides some of the most crystal-clear images ever put on film… while also making films look rather cheap in the worst possible ways. And yet, the irony of Gemini Man is that this whole discussion behind its ambitious high-frame-rate is far more interesting than the film itself. Sure, Will Smith is genuinely excellent in his dual leading roles and, at the very least, the film is a decent little popcorn flick, but at the end of the day, that’s all that Gemini Man has going for it, really.

Rating: 3/5

Joker (2019) review

In the world of comics, Batman has always been one of the most prolific superheroes to come from the DC Comics Universe. Likewise, many would agree that he also boasts one of the greatest collection of supervillains AKA his ‘rogues gallery’, which is easy to see why when you have classic figures like Mr. Freeze, Two-Face, and Poison Ivy as part of this illustrious group… and yes, that’s just to name a few. However, when it comes to the Dark Knight’s definitive archnemesis, that honor goes to the one and only Clown Prince of Crime, the Joker. The Joker made his debut in the first issue of Batman’s original comic book series (which, for the record, does not count the Dark Knight’s official debut in Detective Comics #27) in 1940. And while it was initially planned to have the character killed off in that same issue, Whitney Ellsworth, DC’s editor at the time, overruled the decision, effectively allowing the Joker to become one of the most recognizable characters in all of comics. Since then, there have been numerous takes on the character though they all maintain the same general concept of a man who dresses like a clown and is a full-on murderous psychopath. On the big screen, actors like Cesar Romero, Jack Nicholson and Heath Ledger have all brought their own unique takes on the role to great success, with Ledger even winning a posthumous Oscar for his work on 2008’s The Dark Knight. In the world of animation, Mark Hamill’s critically acclaimed turn as the character in the iconic Batman: The Animated Series (plus later appearances in other forms of media, including the series’ 1993 feature-length spin-off Mask of the Phantasm and the Batman: Arkham video games) is often cited by fans as quite arguably the best on-screen interpretation of the character.

But now a new Joker is looking to make a name for himself in the pantheon of legendary Joker performances via the character’s first-ever solo film, simply and appropriately titled Joker. However, as cliché as it may sound, it should be made clear that this is not your typical comic book film. To the uninitiated, this may just seem like the newest installment of DC’s current film franchise, the DC Extended Universe. However, the fact that this one doesn’t star Jared Leto (who, of course, played the character in 2016’s Suicide Squad) in the title role proves that this isn’t the case. Instead, it’s Joaquin Phoenix who headlines this new project under the direction of Todd Phillips, who’s best known for his work on comedies (even though he’s recently gone on record stating that he doesn’t do those anymore for reasons that I won’t be getting into here) like the 2003 cult classic Old School and the 2009 smash hit The Hangover. It’s been said that this film is meant to be the first installment of a new line of films from DC that revolve around their characters and yet are not connected to the DC Extended Universe. Running under the label of ‘DC Black’, these new films would give filmmakers a chance to do more experimental takes on what is easily the biggest film genre there is without having to connect them to other films or set the groundwork for sequels. In other words, there’s been a lot said about Joker and how it could potentially impact the superhero genre going forward, and yet, despite a genuinely dedicated performance from Joaquin Phoenix, Joker isn’t exactly the game-changer that it aspires to be.

On the seedy streets of Gotham City in 1981, a man named Arthur Fleck (Joaquin Phoenix) can never seem to catch a break. Stuck in a dead-end job as a party clown and afflicted with a condition that causes him to laugh at inopportune moments, Arthur spends most of his time looking after his mentally and physically ill mother Penny (Frances Conroy). At the same time, Arthur also aspires to become a stand-up comedian like his idol, talk show host Murray Franklin (Robert De Niro). However, his first stand-up appearance doesn’t go very well and, to make matters worse, it ultimately becomes the butt of all jokes when Murray plays clips of it on his show. This, in turn, paves the way for even more bad things happening to Arthur. He is informed that he won’t be getting any more of his medication due to citywide budget cuts and ends up getting fired from his job when he accidentally drops a gun that was given to him by a co-worker during one of his gigs. And when he ends up reading one of the letters that his mother has been writing to her former boss Thomas Wayne (Brett Cullen) to ask for his help in getting the two of them out of their current life predicament, Arthur discovers the potential connection that he has to the billionaire. Thus, as his life continues to get more chaotic with each passing day, Arthur starts to embrace his dark side as he prepares to get revenge against all those who’ve wronged him. In the process, he even ends up inspiring a citywide revolt via his clown persona as the disgruntled citizens of Gotham start to fight back against the corruption in their city.   

If anything, Joker does deserve a lot of credit for how it genuinely delivers on its promise of not being a typical comic book film. Unlike most films from this genre, Joker doesn’t feature large-scale action sequences or flashy visuals. Instead, it’s a more traditional drama inspired by the likes of Taxi Driver and The King of Comedy, which makes a lot of sense when you consider that it was nearly produced by Martin Scorsese before he had to back out due to other commitments. This is also one of those films that rely on a slow burn narrative that, in this instance, is based entirely around Arthur’s descent into madness, and overall, it’s one of the better-handled aspects of the film since it’s properly maintained throughout without having to come at the cost of decent pacing. It also helps that the film sports some excellent cinematography from Todd Phillips’ frequent cinematographer Lawrence Sher and an appropriately sinister score by Icelandic composer Hildur Guðnadóttir. However, the film’s promising start ultimately paves the way for an extremely underwhelming finale that doesn’t even come close to being the intensely disturbing conclusion that it was seemingly building towards. In fact, without directly spoiling anything, one key action that Arthur does before the finale is the pinnacle of this film’s disturbing content. Plus, despite all the claims that this wasn’t going to abide by the superhero genre’s usual tropes, the film’s conclusion ends up shoehorning in what is quite arguably the most recognizable plot thread from the Batman mythos. Seriously, I don’t even need to mention what it is here because let’s face it, you already know exactly what I’m talking about.

At the very least, the film does manage to serve as a solid showcase for the genuinely superb performance by Joaquin Phoenix in the title role. While there is a lot to be discussed when it comes to how effective the film truly is at portraying people with a mental illness, Phoenix commands the screen and succeeds in crafting a character who effectively evolves from a sympathetic punching bag to a terrifying monster. However, because this is one of those cases where he’s always the primary focus of the film, everyone else in the cast gets far less to work with by comparison. Robert De Niro’s Murray Franklin is a prime example of this because no matter how much the film pays homage to The King of Comedy (in which De Niro played Rupert Pupkin, an obvious precursor to Arthur), De Niro isn’t in the film as much as you may think for a character that plays a pivotal role in Arthur’s downfall. The same goes for Brett Cullen as Thomas Wayne, whose role in the film is even smaller than De Niro’s and ends up going exactly as you’d expect for the father of Bruce Wayne (played here by Dante Pereira-Olsen in a small handful of scenes). But the one who gets it the worst is Zazie Beetz as Arthur’s neighbor Sophie, who ends up being his love interest… and that’s literally her entire role in a nutshell. And once the film gets to a major twist surrounding her relationship with Arthur, she’s out of the film completely. As such, Frances Conroy is technically the real female lead of the film as Arthur’s mother Penny, and she’s great in the role thanks to the solid mother-son relationship that she forms with Phoenix that undoubtedly gets tested when some of her dark secrets are revealed.

It goes without saying that Joker has been one of the most talked-about films of 2019. Many are predicting that this film could be a major game-changer for the superhero genre and even a potential frontrunner at this year’s Oscars. At the same time, though, it’s also amassed quite a lot of controversy due to the fear that it will inspire acts of violence in the real world. However, I ultimately find myself comparing it to another controversial film, 2014’s The Interview. Both films attracted some considerable controversy before their release to the point where things nearly got violent… and yet are so underwhelming that it makes you wonder why these were the films that nearly got folks riled up in the first place. Case in point, as much as Joker claims to be a fresh, new take on the superhero genre, it’s more like a hodgepodge of elements that were lifted from other, more successful films. Its dark and gritty take on Batman’s iconic nemesis doesn’t feel that far off from what Christopher Nolan and Heath Ledger did more than a decade prior with The Dark Knight. And as much as the film acts like it isn’t going to follow the usual narrative structure of other superhero films, it still feels the need to crowbar in the one Batman trope that anyone familiar with the character’s comic backstory will see coming more than a mile away. Sure, it does have the benefit of a terrific performance from Joaquin Phoenix in the title role, but all in all, Joker is a film that talks a big game but ultimately doesn’t have one.

Rating: 2/5

Judy (2019) review

When it comes to some of the most legendary figures who graced the entertainment industry with their immense talent, there are arguably none who are more iconic than the one and only Judy Garland. For practically every generation there is, she’ll always be known for her starring role as the beloved heroine Dorothy Gale in the timeless 1939 adaptation of The Wizard of Oz. However, outside of the time that she spent traveling down the Yellow Brick Road, she was also one of the most acclaimed singers of her time with hits such as ‘The Trolley Song’ from her 1944 film Meet Me in St. Louis and, of course, The Wizard of Oz’s iconic solo, ‘Somewhere Over the Rainbow’. Sadly, Judy’s life was plagued by financial instability, mental and physical health issues, and a severe addiction to drugs that would ultimately culminate in her tragic death in 1969 at the age of 47. Thus, she ultimately became one of the most definitive examples of the industry’s cautionary tales, which brings us to today’s subject, the first theatrically released Judy Garland biopic (not counting a few made-for-TV films that have been made over the years) simply titled Judy. Inspired by the 2005 play End of the Rainbow by playwright Peter Quilter, the film focuses on one of the last major moments of Judy Garland’s career when she performed at the Talk of the Town theater in London, England. Fittingly enough, this film’s director, Rupert Goold, is best-known for his work in theater while his directorial credits in both film and television primarily consists of Shakespeare adaptations. And while Judy does occasionally feel like a straight-forward adaptation of the play that it’s based on, it still succeeds at being a well-meaning biopic fortified by a phenomenal performance by Renée Zellweger in the title role.

It is 1969 and Judy Garland (Renée Zellweger) is dealing with some major personal crises. She has been struggling financially, is still addicted to the various substances that were given to her as a child actress (e.g. amphetamines) and has been stuck in a nasty custody battle with her ex-husband Sidney Luft (Rufus Sewell) over their two kids, Lorna (Bella Ramsey) and Joey (Lewin Lloyd). With her options for money becoming more and more limited with each passing day, she is offered a five-week gig to perform concerts at the Talk of the Town nightclub in London. The only catch, however, is that Lorna and Joel won’t be able to come with her due to the ongoing nature of the custody dispute. Thus, Judy hesitantly accepts the offer, even though it destroys her to have to leave her kids behind, since she realizes that it’s practically her only option at this point if she wants to keep providing for them. Once in London, she meets with her new assistant Rosalyn Wilder (Jessie Buckley) and begins her new gig at the Talk of the Town to initially solid success. Along the way, she also strikes up a relationship with entrepreneur Mickey Deans (Finn Wittrock) and their romance blossoms to the point where he ends up becoming her fifth husband. Unfortunately, the bad habits that have plagued Judy her whole life soon start to rear their ugly head which, in turn, ends up having a considerably negative impact on her performances.

As far as biopics go, Judy is admittedly very straight-forward when it comes to its retelling of Judy Garland’s life. In other words, it hits all the usual story beats that showcase both the highs and lows of her life, ultimately ending on a high note for her career-wise despite being juxtaposed with the factoid of her untimely death. But just like the Elton John biopic Rocketman from earlier this year, Judy does manage to craft a highly respectful take on Judy Garland’s story that’s also openly candid about her various personal struggles. Whether it’s the nasty feuds that she gets into with her husbands or key flashbacks to her childhood during the time that she was working on The Wizard of Oz and had to endure the strict demands of her handlers, it’s easy to sympathize with her given everything that she went through. And because of this, the film perfectly highlights how Judy Garland was, above all else, a good-natured girl who just wanted to live a normal life but sadly never got the chance to do so because of an overbearing studio system. But, of course, the biggest selling point of this film is Renée Zellweger, who is phenomenal as the one and only Judy as she completely disappears into the role and perfectly encapsulates Garland’s captivating stage presence. This then translates nicely into the film’s musical numbers, with excellent renditions of classic Judy Garland songs all culminating in an emotional performance of ‘Somewhere Over the Rainbow’ that’s sure to tug at the heartstrings. Thus, while it may sometimes feel like the original play this film was based on was just lifted directly to the screen without a lot of significant changes to fit its new medium, Judy is a genuinely solid entry in the biopic genre. Thanks to a heartfelt portrayal of its subject’s life and an Oscar-worthy turn by Renée Zellweger in the title role, this film perfectly showcases why Judy Garland will always be fondly remembered as one of the greatest entertainers of her time.

Rating: 4/5