One of cinema’s most iconic action characters – Indiana Jones – rides off into the sunset this week, but does his final gallop match his formidable talents? We have thoughts on that. Also in theaters this week comes one of 2023’s best documentaries, while Netflix delivers one of the best animated features of the year.
Other excellent streaming options abound, including Idris Elba taking on hijackers and a thoughtful documentary on the writing of a new American anthem.
And of you’re in the mood for an addictive series, check out Netflix’s “Glamorous,” with Kim Cattrall.
Here’s our roundup.
“Indiana Jones and the Dial of Destiny”: The first 20 minutes of what’s purported to be (I’ll believe that when I see it) the final chapter in the Indy franchise are a travesty — a soulless CGI orgy that creepily de-ages Harrison Ford and reduces what should be a derring-do opening act into a jacked-up “Polar Express” experience. Afterwards, when director James Mangold and company settle down to allow old-school effects in the mix — a tuk-tuk chase, most notably — “Dial” turns into something special, a loving and exciting homage (even Antonio Banderas pops up) to the Steven Spielberg action-adventure films of yore. In a clever setup, an older and grumpier Indy in 1969 teams up with an adventurous, opportunistic goddaughter (a most welcome Phoebe Waller-Bridge) so they can pinpoint where the other half of Greek mathematician Archimedes’ treasured time dial with magical properties is buried. It’s an object of obsession for Nazi Jürgen Voller (Mads Mikkelsen) who, of course, wants to possess it for his devious purposes. If you can get beyond that putrid opening act, this “final ” Indy outing is a nostalgic joy ride that tips its fedora to the archaeology professor/reluctant adventurer and has him tangle with snakes, eels, creepy crawlies and more Nazis! The final 20 minutes rival pretty much anything that came before, taking us on an outlandish and innovative rollercoaster ride that makes your jaw come unhinged. It helps that Ford’s performance is so tender, almost an eulogy to his beloved character. Faults and all, this is a fitting tribute and poignant finale to one of the screen’s most iconic characters. Details: 3 stars out of 4; in theaters June 30.
“Nimona”: Watch out, Spidey. Netflix has unveiled perhaps the best animated feature of 2023. Based on ND Stevenson’s graphic novel, this comedy/action effort from directors Nick Bruno and Troy Quane upstages the wares of other animated giants by not forsaking story for graphic design. Both carry equal weight here in a bold narrative in which the world building offers something fresh and innovative with two of its integral characters, the commoner/knight Ballister Boldheart (Riz Ahmed) and Sir Ambrosius Goldenloin (Eugene Lee Yang) being gay and in love. Their commitment gets tested when Ballister gets framed for the murder of Queen Valerin. The hero turned villain teams up with a shapeshifter named Nimona (Chloë Grace Moretz), a spirited loner since she’s viewed as a monster by everyone around her. Nimona is overjoyed to become a villain’s sidekick, and it is their comical but sweet friendship that makes your heart melt, along with the love shared between Ballister and Ambrosius (they kiss and hold hands). “Nimona” tells its story tenderly, poignantly and offers up a parable on learning not to fear those who are different from you and demolish the pious barriers that separate us. It’s a potent message during this volatile time, and Nimona delivers it with skill while never overlooking its goal to entertain. Details: 4 stars; drops June 30 on Netflix.
“Hijack”: The no-nonsense title of this Apple TV+ thriller starring the incredible Idris Elba fits it well, since it is straightforward, nerve-wracking entertainment that’s about — you guessed it — a plane hijacking. To tell you the masterminds’ ulterior motive for this London-bound flight from Dubai would give too much away. So just relax, sit back and enjoy the intense flight as savvy negotiator Sam Nelson, played by the charismatic Elba — who executive produced — deals with the nefarious hijackers. Meanwhile, those stuck on the ground have issues to contend with as well – including a counterterrorism official played by Archie Panjabi and a police inspector who’s involved with Nelson’s ex, portrayed by Max Beesley. They’re in a race to beat a ticking clock and you know it won’t be an easy ride. Created by George Kay (“Lupin”), the tightly wound seven-episode series doesn’t waste a moment. It’s a shot of pure adrenaline. Details: 3 stars; two episodes available June 28 followed by one episode every Wednesday through Aug. 2; Apple TV+.
“Anthem”: Should we replace “The Star Spangled Banner” with a national anthem more in tune with with today’s America? That lofty question, one that’s certainly provocative and contentious for some, gets intelligently and thoughtfully addressed in Oakland filmmaker Peter Nicks’ latest documentary — one of his best yet. Nicks follows celebrated composer and pianist Kris Bowers and DJ Dahi on a road trip to various American hotspots where particular music styles have flourished — from Detroit to New Orleans to Tulsa, Oklahoma, to San Francisco and other destinations. Their goal is gaining more insight and knowledge so they can more accurately represent what America really is, and they do that by consulting with various notable musicians and asking them to collaborate on a new anthem that expresses and represents voices. “Anthem” engages us from the start with this lofty goal, one that Nicks’ film illustrates is indeed challenging. In the end, “Anthem” does a remarkable job of not only showcasing this creative communal process but the diversity of American music and how it reflects what we are made of. When it celebrates the staying power of music, “Anthem” hits its highest notes. Details: 3½ stars; available now on Hulu.
“Glamorous”: Forget the fuss made over “Sex and the City” controversy magnet Kim Cattrall and her cameo on HBO’s “And Just Like That.” If you really want to see her get her diva on — in a more nuanced way, turn to Netflix. She’s dynamite as Madolyn Addison, the tough yet kind CEO of a New York beauty empire. The breezy 10-episode dramedy is one of those rare shows that celebrates its queerness in the best way imaginable. But as much as Cattrall shines here, series star Miss Benny shines even brighter as her plucky new assistant Marco Mejia, a gender nonconforming queer man with ambition, a popular makeup video channel and a problem picking the right guy. Showrunner Jordon Nardino’s chipper but not just skin-deep show gives singer/YouTube sensation Miss Benny and Cattrall juicy roles to sink their teeth into, but all the characters are written and played well. That extends to Marco’s polar-opposite potential love interests — the gym-bunny financial guy Parker (Graham Parkhurst) and the nerdy but cute co-worker Ben (Michael Hsu Rosen) — as well as others working at Madolyn’s empire — her energetic but kind of clunk-headed son Chad (Zane Phillips) and her top assistant Venetia (Jade Payton). The series ends on a high note, but I’ll hush up about that, except to say the final episode hints that “Glamorous” will be around for a Season 2. Details: 3 stars; now available on Netflix.
“Skull Island”: The director behind one of 2020’s most enjoyable and underrated films — “Spontaneous” — brings his energy and his appreciation for genre mashups to this eight-episode animated Netflix series. And it’s his vision that makes “Skull Island” an improvement over the live-action King Kong movies from Warner Bros. Filled with huge tentacled beasts in the sea and monster-sized land creatures on the infamous home of King Kong, “Skull Island” makes you feel like a kid who just discovered the best comic book ever. Two young men (voices of Nicolas Cantu and Darren Barnett) and their dads — including Cap (voice of Benjamin Bratt) — put their lives on the line for a mysterious young woman Annie (voice of Mae Whitman) they bring onboard their ship. They eventually get shipwrecked on Skull Island, a place of tropical beauty and danger. Each episode runs just over 20 minutes, with the best one focused on Kong’s story. Details: 3 stars; available now on Netflix.
“Every Body”: Director Julie Cohen’s illuminating documentary introduces us to three people whose stories rarely get heard (or even mentioned) in America. River, Alicia and Sean are all intersex — possessing gender characteristics that don’t align with either traditional male or female traits — and have long confronted discrimination, disrespect and ignorant remarks. Cohen — co-director of “RBG” and “My Name is Pauli Murray” — has made one of the most important documentaries of the year, a game changer that enlightens and provides a disturbing look at the insidious steps once commonly authorized by medical professionals to “fix” intersex babies. Details: 4 stars; in theaters June 30.
“Will-o’-the-Wisp”: If you’ve dipped your toe into the surreal canon of Portuguese filmmaker João Pedro Rodrigues, it shouldn’t be a shock to learn that his latest is utterly undefinable. Raunchy, playful, even touching, it starts in 2069 and then hurls us back in time to a fire station where the sparks fly between a prince Alfredo (Mauro Costa) and a hot fireman (André Cabral). There are showstopping musical numbers, plentiful eyefuls of nudity and much more. I loved every 67 minutes of it. But linear narrative lovers will hate it. Details: 3 stars; opens June 30 at at the Roxie, S.F.
Contact Randy Myers at sotisrandy@gmail.com.
Source: www.mercurynews.com